


AMBITION ( Season 1 )

by friarlucas



Series: pour myself a cup of ambition [1]
Category: AMBITION (TV), Girl Meets World
Genre: Asher Garcia/Dylan Orlando - Freeform, Episode Style, F/M, M/M, Musical References, Performing Arts, Slow Burn, this is structured like a television show but... give a shot. just trust me.
Language: English
Status: Completed
Published: 2019-05-31
Updated: 2019-06-23
Packaged: 2020-04-05 17:20:02
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 14
Words: 129,653
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/19044916
Author URL: https://archiveofourown.org/users/friarlucas/pseuds/friarlucas
Summary: If show business is the destination, then Adams Academy for the Arts is a pivotal stop along the way. For many of the students who step into its halls freshman year, it’s the first rung in a long, laborious, and cutthroat climb to the top. When Riley Matthews makes her way into the elite ranks at the start of sophomore year, there’s a lot of catching up to do in a school where keeping up is as crucial as breathing. Her classmates aren’t going to make it easy either, from the obnoxiously driven “Diva Trio”, to the student technicians that are somewhat terrifying. Yet she can’t shake this strange fascination with them, or her restless need to bridge the divide that runs not only through them, but the faculty, too. Yes, there’s clearly a reason acting principal Jack Hunter looks so exhausted when he welcomes her on her first day.The message is clear: AAA is no joke. If Riley intends to stick around, she better leave an impression. But that’s the nature of the business, and she has never been one to give up easily. No, Riley Matthews is here to stay, and her sophomore year promises lots of turbulence in an effort to make her prove it.Welcome to Adams! Now get to work.





	1. Author's Note - Welcome to AAA!

Greetings, my dear, dear readers!

This fic sort of necessitates an author's note at the beginning, because it's not quite like any of the other works I've done. Firstly, it's a collaboration with my dear friend Esther, who you can find on Tumblr under the username **rapunzles**. This universe wouldn't be possible without her, both for proposing the idea at first and then being a faithful and inspiring co-creator all along the way.

Second, that's sort of the gist as to why this is just showing up here now -- Esther and I have been working on this AU since... late March? We've been posting about it on Tumblr (which you can find me under  **friarlucas** , naturally), but I definitely started having the feeling that y'all on here were like... is she dead? She good? So I decided I should try my best to get this out here in this realm if not for your enjoyment, then at least so you can see I am indeed still active. Very much so! Just in a sort of unique vein...

Which leads me to my third and final point, which is that this universe and fic are structured like a television show. To that end, they're not written in... chapters, so much, but more like episode outlines. So if you want to read -- which I definitely hope you will! -- just go into it knowing you'll be reading a document that acts more as a visual aid than the fics you've seen from me previously.

All that being said, I cannot emphasize enough how much I love this fic. It's got humor, it's got wit, it's got music (which has always been a passion of mine). It not only focuses on romantic slow burns, but also takes it's time building important platonic dynamics that are as crucial to the story as anything else. It's taking my favorite crop of characters and doing something entirely new with them, and I've been excited and honored to take this journey with Esther, my beta team, and everyone throwing their support over on Tumblr. So now, I wanted to share it with you all too.

So if you so choose, read on! Otherwise, take comfort in the fact that I am, in fact, alive and just as gooby as ever.

With a hearty "heidy-ho,"

 

Maggie


	2. Episode Listing

_**AMBITION** _

**Season 1 Episode Listing**

* * *

**[ 1.01 ] “First Impressions (Pilot)” //** THE CURTAIN RISES – Riley Matthews is looking for a new start and the chance to pursue her dreams. AAA seems like the perfect place – save for the diva antics, the brooding crew of techies, and the Jewish American golden boy willing to kill for his claim to the spotlight. Welcome to Adams!

**[ 1.02 ] “The Phantom of AAA”** // LIFE’S NO FUN WITHOUT A GOOD SCARE – October brings terror as the techies are forced to skip an important event for the performers. Isadora works on a short film, documenting the supposed ghost haunting AAA. Riley has issues adjusting to the intensity of the school.

**[ 1.03 ] “Under Pressure”** // TALENT-FOR-BRAINS – Maya struggles to keep up with her academic requirements, but being given Farkle as a tutor is far worse. Charlie volunteers to tutor Zay. Riley fights to keep up after her introduction to a harsher feature of AAA.

**[ 1.04 ] “Special Snowflakes”** // BABY, IT’S COLD OUTSIDE – The performers hustle to make a statement at the annual winter showcase. Hoping to bridge the divide, Riley endeavors to make friends with the techies. But getting in good with Isadora and Lucas may ask more than she can handle.

**[ 1.05 ] “Extra, Extra”** // HEADLINERS – Isadora’s world crumbles when AAA Confessions shares a major secret. Lucas’s temper flares out of control. Rumors swirl around Charlie and his relationship with Riley.

**[ 1.06 ] “Stripped”** // NOTHING BUT THE BEAT – In Lucas’s absence, Shawn and Angela give the techies a break by declaring all numbers acoustic for the duration of the week. Farkle can’t get a grip on the assignment. Zay fights a creeping sense of isolation.

**[ 1.07 ] “Black, The Color of Techies Scorned…”** // YOU SAY YOU WANT A REVOLUTION – Fed up with their treatment, the techies fight back… by doing absolutely nothing. Attempts to mediate go sour when Farkle and Isadora can’t relinquish control. Riley makes an effort to break the strike, but it may be her who gets broken instead.

**[ 1.08 ] “These Boots Aren’t Made For Dancing”** // CULTURE SWAP – As part of the truce, the performers and techies walk a mile in the others’ shoes – almost literally. Some students are more equipped for the change than others. A technician performance at the end of the week promises plenty of surprises.

**[ 1.09 ] “The Miserables”** // ENTENDEZ-VOUS LES GENS CHANTENT? – Shawn tests his limits as he steps up to lead the production of the spring musical in Angela’s absence. Lingering tension over casting choices bubbles over. Deceptively rosy circumstances prompt students to seek refuge in unlikely places.

**[ 1.10 ] “Birds of a Feather”** // IT TAKES TWO – A duet assignment allows for blooming partnerships to flourish. Angela must decide whether or not to leave Adams behind as fate offers her a second chance at her dreams. Isadora spends time with her starlet mother.

**[ 1.11 ] “Before the Storm”** // CH-CH-CH-CHANGES – The sophomore stars throw their hat in the ring for the chance to attend a highly regarded performance summer program, but only three students can progress from Adams to the final audition. Lucas has a daunting decision to make.

**[ 1.12 ] “The World Will Never Be the Same”** // WHILE THE WALLS COME TUMBLING DOWN – The auditions for the coveted summer immersion program unfold. Riley and Lucas attend the Jacobs Arts Gala, while Zay and Charlie make bold choices. Farkle makes a statement, and the sophomore class realizes that in real life, there are no rehearsals.

 


	3. First Impressions (Pilot) [ 1.01 ]

**Summary for the Chapter:**

> THE CURTAIN RISES – Riley Matthews is looking for a new start and the chance to pursue her dreams. AAA seems like the perfect place – save for the diva antics, the brooding crew of techies, and the Jewish American golden boy willing to kill for his claim to the spotlight. Welcome to Adams!

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://t.umblr.com/redirect?z=https%3A%2F%2Fopen.spotify.com%2Fuser%2Fauthorisasauthordoes%2Fplaylist%2F5R7px9cVwMaSFJQj8osIur%3Fsi%3Dg5BG-Hr4Qyq7OgiTZ0GmpA&t=MjAzZjM3YTQ5MWE0MmZmOWNiYzU4ZTFmYWY1MmM5NzUxYzE4MDU5ZCxGalRsZERMWQ%3D%3D&b=t%3AkDXCOjdyQYrhnuEmlkaYMA&p=https%3A%2F%2Ffriarlucas.tumblr.com%2Fpost%2F184556316482%2Fambition-season-1-first-impressions-pilot&m=1)! )

**INT. RILEY’S BEDROOM - DAY**

An alarm goes off, a hand reaching out and hitting it off immediately. RILEY MATTHEWS (15) lays in bed, clearly already awake and staring at the ceiling. From how anxious she looks, it seems like she hasn’t slept much at all. She gives herself a little pep talk, telling herself she can do this and this is going to be the day everything changes for the better, before launching out of bed. As she goes, she hits play on her phone.

* * *

**Song Cue ♫ ♪ “Changes” as performed by David Bowie and Butterfly Boucher || Performed by Riley Matthews & Jack Hunter**

As Riley gets ready for school, she sings along to the first verse of “Changes.” She braids her hair, puts on her nicest, most distinct outfit, before running out the door. She says goodbye to her mother TOPANGA LAWRENCE (late 30s), kisses her younger brother AUGGIE MATTHEWS (8) on the top of the head. When she reaches her father waiting at the door, CORY MATTHEWS (late 30s), the two of them exchange excited grins before heading out the door.

The two of them emerge from the nearest subway stop and Riley gets her first good look at  _Adams Academy for the Arts_ , a beautiful and daunting marble building nestled in the middle of the Village. Visualize the MET, but with the flourish and slight humble nature of a high school (although humble is not a word one would use to describe this school). Cory is already on his way up the steps, but Riley hangs back, staring up at the building in awe. Somewhat overwhelmed. Students pass her by on their way inside, many far better dressed. This is a school where the student population is probably worth more than the school itself.

Gearing herself up, Riley begins to jog her way up the steps after her father.

Meanwhile, JACK HUNTER (40s) is in his office preparing for her arrival. He’s a well-groomed man, clearly an instrument of discipline and order, and a bit out of place in a school full of creatives even though he’s been there for over a decade. He carries the second verse, lamenting how things never change and students are… not so willing to listen to reason ( _“They’re immune to your consultations / They’re quite aware what they’re going through…”_ )

As Jack heads out of his office to walk the halls before the school day truly kicks off, Riley is making her way through them as well. This is our first glimpse into the hallowed halls of Adams, as well as the cast of large personalities we’re about to spend a series with…

  * Riley has to duck around ZAY BABINEAUX (15), a lithe and groovy dance student with a clear sense of self and an even clearer sense of style. He’s rehearsing with other dancers in the middle of the hallway. Later, Jack will pass them by and disband them, as dancing is not allowed in the halls. Come on, they know this!
  * CHARLIE GARDNER (15) is holding court with a lot of the girls in the class, seemingly like the polished and preferred cute male of choice at AAA. He’s the full package – coiffed hair, pressed polo shirt, charming grin. As Riley passes him by, he lifts his head and gives her a smile. Friendly, or flirtatious? Who’s to say…
  * MAYA HART (16) is parading the halls with her clones DARBY WINTERS (15) and SARAH CARLSON (15), rambling on about some number and practically bulldozing Riley. This is a girl with a brand – she is the most glamorous girl Riley has ever seen, from the glossy blonde hair to the perfectly put together outfit that looks entirely made of brand-name items. They don’t even notice Riley, nearly shoving her out of the way.
  * A gangly student is arguing animatedly with ANGELA MOORE (30s, the performing arts teacher for the sophomores) outside the black box theater classroom. This is FARKLE MINKUS (15), Jewish American diva and constantly over-the-top with his swoopy hair and blazer. Like, this kid is wearing a  _blazer_  to school. We can tell right away that Mister Farkle Minkus is going to be a PIECE. OF. WORK. Riley can too, raising her eyebrows as she passes by their disagreement.
  * As we get to  _“Strange fascination fascinating me…”_  Riley passes by the east stairwell, where the sophomore techies always congregate each morning. They’re all in dark clothes (because that’s how techies dress, but so do GOTHS???), and seem like a chaotic bunch. DAVE WILLIAMS (15) and ASHER GARCIA (15) are lobbing food at DYLAN ORLANDO (15) to see what he can catch in his mouth. NATE MARTINEZ (16) and JEFF MONROE (15) are arguing heatedly about something, but it’s impossible to tell if they’re actually upset or not. JADE BEAMON is sketching in a notebook, occasionally looking up to roll her eyes at the argument.
  * LUCAS FRIAR (16) and ISADORA DE LA CRUZ (15) hold first position at the bottom of the stairs, deep in conversation about something. They’re both the most intimidating of the bunch even from a glance – Isadora due to her intense wardrobe and general aura of authority, Lucas due to his seemingly permanent disdainful expression… and maybe the fact that he is openly playing with a switchblade.
  * Of course, they both look up to find Riles staring at her. She makes eye contact with Lucas before immediately turning away. I mean, they’ve got a  _switchblade_. Scary! She YEETS outta there.



* * *

Just in time to make it back to the front office, where she steps inside just as Jack steps out of his office.

> **Jack:**  Hi, Miss Matthews. Welcome to Adams Academy of the Arts.

He offers her a smile. Welcome to the thunderdome!

**INT. AAA - JACK’S OFFICE - DAY**

Jack introduces Riley to the school and all the facilities / what she might need to know. As they’re conversing, ERIC MATTHEWS (40s) steps in as acting counselor to also give a welcome to Riley – but it’s clear that they already know each other. It’s his niche! It’s also evident that Eric and Jack are rarely on the same page just from the way they regard one another.

Eric offers to show Riley to her first class, and as they’re heading out, Jack assures Riley that he’s certain she’ll find what she’s looking for at Adams. She certainly hopes so, Jack.

**INT. AAA - AUDITORIUM - DAY**

Riley enters the auditorium, where a majority of the classes will be held while she is here. Many of the students are already assembled in the first few rows of the audience, eagerly conversing with one another and catching up from the end of summer. The techies are situated further back, with their feet up on the backs of chairs and hardly paying attention.

Already, Riley is feeling the struggle of trying to find a place to fit. She plops herself alone in a row somewhere between the chatty performers and brooding techies, managing to isolate herself from her first day. Hooray! From behind her, Dave leans over to whisper something to Dylan and Asher about her sitting alone. Lucas is also watching her, somewhat amused at how uncertain she seems about the whole situation.

Angela saunters to the front of the stage, snapping them to attention and welcoming them back to another year at Adams. She gives a rousing speech about how this year is going to be even more intense than the first, but also full of self-discovery, pushing our comfort zones, and more than anything, becoming better artists. Maya, Zay, and Farkle are all listening with rapt interest. Isadora is rolling her eyes. Just as she’s reaching the climactic conclusion of her dramatic monologue, her speech is interrupted by SHAWN HUNTER (30s), stumbling in ten minutes late to his own class. He’s unshaven, clearly a bit of a mess, and dressed far less impressively than Angela or a majority of their students.

> **Angela:** _[ with biting sarcasm ]_  And there he is. My wonderful co-instructor, right on time. Mr. Hunter, anything you care to share with the class before we kick off our second year?
> 
> _[ Shawn jogs up, coming to an out of breath stand-still next to her. Side by side, the contrast between them is even more pronounced. He shrugs, half-smirking. ]_
> 
> **Shawn:** Sing some stuff?
> 
> _[ In mocking solidarity, the techies erupt into cheers at this speech. Dave and Dylan give him a standing ovation. The performers look annoyed. Farkle turns around the glare at them. Riley is taking all of this with marked confusion. Shawn takes a sarcastic bow. ]_
> 
> **Angela:**  Classy as always.

For their first performing assignment of the year, Angela encourages all of them to come up and sing whatever they’ve been working on this past summer. Seems innocent enough. When she asks who wants to go first, however, the front of the auditorium erupts as Zay, Maya, and Farkle all immediately jump and scrap to get to the stage first. Riley is like… what on Earth.

Farkle succeeds, yanking Zay out of the way and scrambling onto the front of the stage (they didn’t even take the fucking stairs) and jumping back to his feet. The clear victor, Farkle begins a little monologue as Maya and Zay begrudgingly return to their seats. As far as he’s concerned, this year is going to be about change, and the change is going to be him taking his rightful place as the undisputed Star of the Sophomores. Maya and Zay clearly don’t agree with this assessment, so there’s already guaranteed to be drama. Lovely…

Thusly, Farkle launches into his first performance of the year (and the series).

* * *

**Song Cue ♫ ♪ “Man About Town” as performed by _Young Frankenstein_ Original Broadway Cast || Performed by Farkle Minkus**

Farkle kicks us off with a bold and frenzied rendition of the Broadway tune, demonstrating his undeniable vocal skill but also showing off his capacity to be obnoxious. The song seems to speak to what Farkle is hoping will be his truth – that everyone will take notice of him, pay attention to him, that he’ll rise to the stars like he feels he’s been destined.

Riley is stunned by the amount of talent already on display. If she wants to prove that she’s here on her own merit and talent rather than just because her father works here, then she is going to have to bring it.

* * *

**INT. AAA - GIRL’S DRESSING ROOM - DAY**

Maya and her clones hang out in the girl’s dressing room, getting ready for the rest of performing class and the day. Sarah points out that Farkle has gotten better over the summer; Darby mentions he’s gotten cuter, too. After Sarah and Maya both express bewilderment at how Darby could possibly find him cute ( **Sarah:**  God, it’s like you’ll fall for anything with testosterone and half a working vocal chord), Maya waves off their concern about his talent. She claims she’s going to blow him out of the water, and this year is far from belonging to him. The rivalry is loud and clear.

**INT. AAA - ERIC’S OFFICE - DAY**

Riley comes by to visit Eric, who eagerly greets her and situates her in the chair opposite his desk. It’s a cozy, comfortable office, far less clinical but also less organized than Jack’s. It’s evident why many students feel comfortable stopping in when they have a free moment. Eric jokingly points out this is their first official visit as counselor and student, before he asks her how the morning went and how she’s feeling about the school.

Riley avoids her own discomfort and feelings of disillusionment by asking Eric to tell her more about the other students instead – how is she supposed to catch up to the scenery and feel like she’s in the loop if everyone feels like a mystery. Eric agrees, trying to figure out the best way to go about explaining it to her. An idea strikes him, and he grabs his yearbook from the previous school year off the shelf behind him.

As he plops it down onto the desk, he instructs Riley to pay close attention, because there is  _a lot_  to unpack here at AAA.

* * *

**Song Cue ♫ ♪ “High School Never Ends” as performed by Bowling for Soup || Instrumental**

As Eric talks Riley through each of the main players we’ve been introduced to, we watch a typical sophomore class unfold in the auditorium. It’s pure chaos, a whirlwind of production and performers getting in the way of techies and practicing and people butting heads. As Eric jumps to each key student, we freeze on them in the midst of whatever they’re doing at the time.

> **Eric:**   _[ As the screen freeze frames on Zay in the midst of trying to teach choreography to a frazzled NICK YOGI (15) and CLARISSA CRUZ (15) ]_  Zay Babineaux isn’t a bad person to keep tabs on as far as getting your sea legs around here. He was voted “Most Popular” in the yearbook last year, but the only thing he cares about more than his public approval rating is dance. I mean, this kid is religious about this stuff. It’s part of the reason he’s so good, but that and his drive to make it are what bump him up to Diva status.
> 
> **Eric:**   _[ The screen freezing on Charlie, leading the same choreography to a gaggle of female students, demonstrating much better patience than Zay. But the girls aren’t really listening to what he’s saying, distracted by him in general. ]_ If you’re stuck on choreography and actually want help, then your best bet is to turn to Charlie Gardner instead. He’s incredibly well-mannered, a genuinely nice kid, but I’m sure your father would want me to warn you that he does have a bit of a reputation with the ladies.
> 
> **Riley:**  Does he… date a lot of them?
> 
> **Eric:** To be honest, I don’t think I’ve ever seen him date anyone. But every girl wishes he would, so that’s kind of a heartbreaker move all it’s own, isn’t it? Still, I wouldn’t worry too much about that. If you’re looking for what to avoid…
> 
> **Eric:** _[ As Isadora marches across the stage, headset around her neck and show binder in her arms. She’s shouting orders, almost comically deafening Dave following behind her. ]_ Do not get in the way of Isadora Smackle while she’s in stage manager mode. That girl is five feet of pure unadulterated power, and she is not afraid to burn you and your potential ego to the ground.
> 
> **Riley:**  Trust me, not much to burn for me.
> 
> **Eric:**  Don’t get me wrong, she is incredibly talented. She’s got a vision like no one else, and it’s hard not to admire how passionate she is about seeing that vision come to fruition. She’s just… not fond of things that slow that process down. Like not following directions, or creating issues that don’t exist. And the queen of doing that…
> 
> **Eric:** _[ As Maya comes out of the dressing room hall and storms onto the stage, holding up a costume choice and obviously having_ much _to say about it. ]_  Is Maya Hart. Now, Maya is probably the most talented triple threat we have in the sophomore class. She can dance, she can act, and by God, can she  _sing_. But she also has an unbridled sense of what’s best for a performance or a production, and she’s not afraid to fight every single person necessary until her voice is heard. She’s in hot pursuit of her dream, for better or worse, and she is ruthless.
> 
> **Eric:** _[ As Maya storms past the techies, nearly knocking Nate into the wall while he’s carrying a two-by-four beam. This beam almost hits Lucas in the head, who ducks just in time. As he’s getting back up, freeze on him mid-eye roll and looking just about ready to kill. ]_ Whatever you do,  _don’t_  mess with Lucas Friar. If your dad were here, he’d tell you not to speak to him. Don’t even look at him unless absolutely necessary.
> 
> **Riley:**  Why?
> 
> **Eric:** Lucas is… not exactly AAA’s favorite student. And that makes complete sense, because the feeling is 100% mutual. There’s plenty Lucas dislikes about the school – and believe me, I’ve heard enough about it in our mandated meetings over the past year – but nothing more so than the “diva attitudes,” namely…
> 
> **Eric:**   _[ As Lucas ducks again to avoid the wide open arms of Farkle, who is just launching into a loud, bold, aggressive solo. ]_  Farkle Minkus. Trust fund baby, unparalleled genius, and vocal champion – both in singing and in complaining. He’s certainly our Rachel Berry, if nothing else.

* * *

As Eric finishes up his CliffNotes edition of who these students are, the warning bell beckons Riley back to class. Eric assures her that she has always been a people person, and he is certain that she’ll be fine. Riley nods along, choosing to believe him. When he asks if she’s decided what her first performance is going to be, she books it out of the office.

**INT. AAA - AUDITORIUM - DAY**

Back in the auditorium for class to continue. It’s Maya turn to sing her piece, taking the stage and giving a speech very similar to Farkle’s – in fact, it’s essentially a fuck-you right back to him by twisting his words. Then she launches into her own show-stopping return from the summer.

* * *

**Song Cue ♫ ♪ “The Wizard and I” as performed by _Wicked_  Original Broadway Cast || Performed by Maya Hart**

Maya’s vocals are truly stellar, and her performance is daunting. While the techies remain unimpressed – they’ve seen this all before, too many times, after all – Riley is totally freaked by how intense the competition is turning out to be. Farkle is miffed by her song choice, seemingly a selection chosen solely to offend him.

> **Farkle:**  This bitch knows I claimed rights to all of the songs in the Elphaba song canon. Unbelievable.
> 
> **Dave, leaning over to Yogi:**  Okay, what is a song cannon, and how do I get one?

* * *

**INT. AAA - GIRL’S BATHROOM - DAY**

The lunch bell rings. Riley has hidden herself away in the restroom, tucked in the corner stall and pacing. She attempts to talk herself down from a spiral, fully intimidated after Maya’s performance. She steps out and looks in the mirror, repeating the mantra to herself again and again. She belongs here. She belongs here. She belongs here!

She is not going to let this year be like all the others. This year is about change, for the better, and she’s going to make it so. But to do that, she’s going to need some friends. Time to put herself out there and start breaking down these barriers.

**INT. AAA - CAFETERIA - DAY**

The cafeteria, the classic worst place to be a new student on your first day. As Riley weaves her way through the crowd, she keeps eyeing places to potentially start her new endeavor. The techie table is at least relatively quiet tucked away in the corner, but no way is she heading over there. Charlie is holding court and seems friendly enough, again, but Riley isn’t sure she wants to risk that potential flirtation. Still, he gives her a smile anyway.

Zay throws her a life preserver from his seat with a couple other performers, YINDRA AMINO (15) and NIGEL CHEY (15). He beckons her over and asks if being the new student sucks as much as it seems like it does, and Riley is like hello, yes, it’s terrible.

Once she’s gotten comfortable with her new company, Riley asks Zay about his passion for dance and what his future dreams are after AAA. As they get to chatting, Zay expresses that he is Broadway bound with no detours and questions about it, and when he gets into talking about how much he loves dance and performing his passion is clear on his face. He laments about the attitude of Farkle and Maya, claiming he’s not like that. Riley asks him about his performance for class, to which he grins and states why tell her about it when he could show her?

* * *

**Song Cue ♫ ♪ “Dancin’ On the Sidewalk” as performed by _FAME_! Original Broadway Cast || Performed by Zay Babineaux (feat. AAA Sophomores)**

Zay launches into this upbeat and fun dance tune, expressing his love for dance while pulling the rest of the cafeteria into it. Riley is amazed as everyone just kind of jumps up and jams with him, starting with Yindra and Nigel but slowly spreading throughout the congregation. Eventually, Zay manages to get her to her feet and pull her into it as well. There is a sizable dance break within the song (naturally), and we get to see Riley show off some of her own skills when she’s not too intimidated. Charlie is also featured in the dancing of the number.

However, not everyone is thrilled by this dancing development. Maya keeps Darby from jumping up to join in, not about to humor her rival. Farkle is the same, watching from his table in the opposite part of the cafeteria and rolling his eyes.

No one is less thrilled about this development than the techies. They’re exhausted, having to listen to the performers do this shit  _all the time_ , and yet another lunch has to be eclipsed by an impromptu performance. It seems like Lucas has had enough, getting to his feet. Isadora reaches up and tries to stop him, but he doesn’t listen. He’s already on the move. Isadora exchanges a look with Jade.

During the dancing, Lucas weaves inconspicuously through the crowd. By the end of the dance break, he sneaks out the back door to the cafeteria and into the hallway. As Zay is finishing up the last verse, Lucas makes his way down the hall, surveying the ceiling until he finds what he’s looking for. Then, he starts scaling the lockers.

Intercut with the dancing, Lucas hefts himself up on top of the lockers, rolling onto his back in the thin space between the top and the ceiling. He digs in his pockets, pulling out a lighter. Carefully, he sparks it and holds it out towards the sprinkler system a foot or so away, stretching out his arm as far as it can go… getting that flame closer and closer…

* * *

As Zay and Riley bring the number to an end, suddenly the fire alarm BLARES through the cafeteria. In the next second, there’s a click, and suddenly the sprinkler system erupts and douses them all in less than pleasant water. The cafeteria bursts into chaos, students screaming and trying to run from the building.

> **Farkle, soaking wet:**  THIS OUTFIT IS WORTH MORE THAN THIS SCHOOL!

The techies erupt into laughter, high-fiving and jostling each other around as they exit the building. Zay sighs, shaking his head and giving Riley a half-hearted shrug and well-meaning smile. “Welcome to Adams,” he declares, as if this kind of shit is totally normal. Riley wipes her eyes, dripping wet and totally shocked by this turn of events. What a rollercoaster of a day this is turning out to be.

**INT. AAA - GIRL’S DRESSING ROOM - DAY**

All of the sophomore girls are together in the dressing room, switching into fresh clothes and drying their hair (of course, performing arts girls have hair care products with them). Riley is the only who doesn’t seem to understand exactly what happened.

> **Riley:**  I didn’t see any fire.
> 
> **Yindra, offhandedly:**  It wasn’t a fire. It was Friar.
> 
> **Sarah:** _[ off of Riley’s continued confusion ]_ Lucas James Friar? He’s the worst.
> 
> **Chai:** He’s constantly pulling stunts like this and making a scene even though he acts like he’s above it all.
> 
> **Clarissa:**  He never does the assignments.
> 
> **Sarah:**  Not to mention he’s basically the definition of white trash.
> 
> **Haley:** He’s the worst the techies have to offer. No one even knows why he’s at this school.

This is all news for Riley. She takes it in, obviously bookmarking all this information for later. But then Isadora steps in, offering a counterpoint.

> **Isadora:** Well, maybe if you didn’t sing and dance every lunch and stop us from enjoying our  _break_  from you singing and dancing every class, he wouldn’t need to do this stuff. But I know, you’re all incapable of doing anything but whatever it is you want.

Solid counterpoint, Isa. Riley takes that in as well.

**INT. AAA - JACK’S OFFICE - DAY**

Speaking of Lucas, the girls aren’t the only people who are certain he was the one who caused the fire evacuation. He sits opposite Jack at his desk, and it’s clear just from their posture that they’ve been in this exact position many times before. Yes, Lucas is no stranger to Jack’s office. Jack speaks with the exasperation of an exhausted parent who has told his child numerous times not to steal cookies from the cookie jar, but they keep doing it anyway.

> **Jack:**  Come on, Mister Friar. This is the fourth time. The fire department is considering adding us to a list. Are you really going to make this difficult? Are you really going to start another year this way?
> 
> **Lucas, calmly:**  I don’t know what you’re talking about.
> 
> **Jack:**  We know you did it.
> 
> **Lucas:**  You have no proof.
> 
> **Jack:** People saw you leave the cafeteria.
> 
> **Lucas:**  I went to the bathroom. People do that, sometimes, you know. It’s actually quite a common bodily function –
> 
> **Jack:**  Don’t make this harder than it needs to be.
> 
> **Lucas:**  All due respect, Principal Hunter, all you have is circumstantial evidence and confirmation bias. So unless you have anything else to add, I really should get back to class so I can listen to Farkle Minkus squawk for yet another jolly day in this wonderful, wonderful institution to higher learning.

Jack doesn’t have any other proof, so there’s not much he can true. But it’s clear – Lucas is one of his most frustrating students, and he’s run out of ways to make headway with him. It’s a wonder he’s even still at the school…

**INT. MATTHEWS APARTMENT - NIGHT**

That night, Riley has dinner with her family. It is clear through this scene that things between Cory and Topanga are not as rosy as America’s sweethearts would have you believe. They’re snippy with one another, and it seems like problems are brewing on the horizon. Riley mentions her struggle to pick her audition song and the strong personalities already at play, and Topanga instructs her with the realist approach, which is that she’ll then need to bring her best as well. What power ballads does Riley have in her repertoire? Although it’s well-intentioned advice, it doesn’t seem like what Riley wants to hear.

**INT. RILEY’S BEDROOM - NIGHT**

Later, Cory comes in to say goodnight to Riley and congratulate her on her first day. She is more open with how she actually feels about it with him than Topanga and Auggie, expressing that she doesn’t know what to do about the song. Cory gives her advice from his heart, which is that she should kick things off singing whatever makes her feel most comfortable. Something that feels like her. She shouldn’t have to change herself just to make an impression.

During this conversation, we also learn the real truth as to why Riley is attending this school now – yes, it’s because of her own passions and dreams, but it’s also that she has a history of being bullied at her former school. This is her fresh start. She gives Cory a hug and then he kisses her forehead, bidding her goodnight. As Riley crawls into bed, she’s back to staring at the ceiling. Thinking, contemplating… as the piano opening of “Your Song” floats in…

* * *

**Song Cue ♫ ♪ “Your Song” in the style of Christopher Phillips || Performed by Riley Matthews**

**INT. AAA - AUDITORIUM - DAY**

Riley keeps it simple with a soft, sweet rendition of “Your Song.” No grand fanfare, no brassy vocals, just her sitting on a stool and singing the song. Her vocals are beautiful, but certainly not as loud as Farkle or Maya.

Angela smiles pleasantly as Riley performs. Zay watches with a smile, giving her a little thumbs up when she looks to him. Charlie watches, obviously enjoying the performance and intrigued. Maya and Farkle look unimpressed, almost amused. At least she’s not a threat. Most of the techies don’t pay attention or look bored. Lucas looks particularly neutral… and yet, he’s not letting his attention drift anywhere else…

As the class is dismissed, Charlie takes the initiative to approach her and tell her that he really liked the performance. Riley, a bit flustered by the attention, is like thanks okay sure. It’s still unclear whether Charlie is flirting, or if he genuinely did just like the song…

* * *

As Riley hustles to pack up, most everybody gone, suddenly it’s just her and Lucas left in the auditorium. She glances to him, uncertain whether she should say something – she’s supposed to be making friends, after all. But she can’t bring herself to do it. He does it instead, however, muttering an offhand comment as he heads up the back steps towards the technician’s booth.

> **Lucas:**  So exciting to see we’ve got another unassuming chorus member.

Riley doesn’t get the chance to respond, but the impact of the statement is made loud and clear. He’s not impressed, and she gets the feeling no one else really was either. A little funny, coming from him considering he didn’t even perform. But if she wants to make her mark here, she’s going to have to bring her A game. Maybe her mother was right – she’s going to have to be a little bolder if she wants to hold her own.

**INT. AAA - DRESSING ROOM HALLWAY - DAY**

Farkle is outside the dressing rooms, writing down notes in a journal as Maya emerges from the girls’ room. She says something snarky to Farkle, prompting banter between the two of them. 

> **Farkle:**  Oh, yes, I was just compiling a list of all the things I’m going to rightfully accomplish this year. Winter showcase closing number, Haverford conference representative, oh, and that coveted summer excursion spot for the rising junior class–
> 
> **Maya:** Oh, is daddy going to buy it for you?

It is clear from their conversation that they mean business – this year is going to be a bloody battle between the two of them for top spot.

And may the best bitch win…

* * *

**Song Cue ♫ ♪ “One (Reprise) / Finale” as performed by A Chorus Line Original Broadway Cast || Performed by AAA Sophomores**

This classic intense theater kid song takes us through the end of the episode, following each of our main characters through their morning routine at the start of the next day during the first half of the number. This gives us a little bit of insight into what might be going on in their lives beyond what we’ve seen displayed thus far…

  * Maya in her small, falling apart apartment, kissing her stressed mom on the cheek as she goes out despite how well dressed she is. Her outward appearance is in complete contrast to the world she’s actually living in every evening.
  * Zay gathering all his dance things together, getting pats and kisses from his parents as he dashes out the door. He almost drops his ballet shoe, but his mother catches it and gives it to him, clearly showing he’s a little more frazzled than he puts off.
  * Charlie is getting ready for the day, dancing around a house full of sisters. He’s fighting for the bathroom just as a younger sister dashes inside, forcing him run downstairs and get ready to go anyway. His mother licks her thumb and wipes a smudge from his cheek, as his father gives him a proud nod and sees him on his way. The crucifix adorning the wall by the front door gives us the hint that this family is devout, to some degree.
  * Isadora is eating breakfast in a crowded kitchen, trying to avoid bumping into a gaggle of siblings of all races and ages. She is a foster child, crammed in a nice house with about twelve other children. It’s obviously not the most ideal environment for her. She heads out the door as fast as she can.
  * Lucas is already at school so early in the morning, in the technician’s booth just where Riley left him last. He finishes pulling a black long sleeve shirt over his head, collapsing into the rolling chair and propping his feet up on the table. He starts flossing, leading us to wonder… did he go home? Is there a home to go home to? What’s going on here…
  * Farkle, lavish and spoiled in a clearly wealthy home, is practicing his stage smile in the mirror. Totally straight-faced, then BAM! Full bright, stage presence grin. Over and over again. Obsessively adjusting his hair. Putting every polished piece into place. Everything a constant performance.



Riley arrives outside AAA again, ready for her second go. She steadies her shoulders, then jogs up the steps towards the school.

**INT. AAA - AUDITORIUM - DAY**

Bam! As we enter into the full minute of the performance, Riley spins and the spotlight hits her. The full sophomore performers are up on stage, performing the show-stopping number. She’s keeping up – barely, but she is. And that’s a start.

From the booth, Shawn, Isadora, and Lucas run the lights and sound levels. Watching the performance critically from a world away…

* * *

The kids give it their all, ending the number with a flourish. The lights are bright, Riley is alive with the energy of a good performance. Welcome to Adams, indeed. This is it!

**_END OF EPISODE._ **


	4. The Phantom of AAA [ 1.02 ]

**Summary for the Chapter:**

> LIFE’S NO FUN WITHOUT A GOOD SCARE – October brings terror as the techies are forced to skip an important event for the performers. Isadora works on a short film, documenting the supposed ghost haunting AAA. Riley has issues adjusting to the intensity of the school.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://t.umblr.com/redirect?z=https%3A%2F%2Fopen.spotify.com%2Fuser%2Fauthorisasauthordoes%2Fplaylist%2F5R7px9cVwMaSFJQj8osIur%3Fsi%3Dg5BG-Hr4Qyq7OgiTZ0GmpA&t=MjAzZjM3YTQ5MWE0MmZmOWNiYzU4ZTFmYWY1MmM5NzUxYzE4MDU5ZCxGalRsZERMWQ%3D%3D&b=t%3AkDXCOjdyQYrhnuEmlkaYMA&p=https%3A%2F%2Ffriarlucas.tumblr.com%2Fpost%2F184556316482%2Fambition-season-1-first-impressions-pilot&m=1)! )

**INT. RILEY’S BEDROOM - DAY**

Another alarm kicks off the episode, being turned off as abruptly as it was in the pilot. RILEY MATTHEWS lays in bed, only her expression is less nervous this time and more determined. Ambitious, if you will. Without hesitation, she throws the covers and leaps out of bed.

As Riley gets ready, dancing and humming around her room, she takes a moment to stop in front of a brand new item hanging on her wall. It’s a dream / moodboard, already decorated with a couple of playbills, ticket stubs, and inspirations (Sara Bareilles, Laura Osnes, etc.) But there’s plenty of room to fill up with new memories.

The dream is out there in front of her. All she has to do is grab it. Shouldering her bag, she gives it a grin before stepping out into the hall.

**INT. MATTHEWS APARTMENT - DAY**

When Riley emerges, she finds CORY MATTHEWS sitting at the table having breakfast. Her mother is nowhere to be found, but SHAWN HUNTER is scarfing down a plate of eggs and bacon in her place. The two of them are discussing Topanga’s absence, but immediately swap topics when Riley joins the conversation.

The two of them question Riley on how she is feeling about school now. Just as she finishes fixing herself a plate and sits down to eat, Shawn receives an email notification on his phone that grabs his attention. He unlocks his phone, evidently taking great effort to read the full email.

An “oh,  _fuck_ ,” is all he shares before jumping to his feet. Cory and Riley don’t even get the chance to ask what happened, Shawn out the door and heading to school. Riley gives her father a look, trying to suss out what may have just gone down.

> **Cory:**  Well, guess I’m calling in sick today.

**INT. AAA - JACK’S OFFICE - DAY**

It doesn’t take long for us to get answers. ERIC MATTHEWS is pacing in front of an exasperated JACK HUNTER, evidently up in arms about whatever it was that got Shawn so frazzled moments earlier. He wonders if Jack realizes what exactly he’s done, if he realizes he’s made a terrible, terrible mistake.

Jack goes onto to explain what exact calamity might have just occurred – there is an annual student technician conference that happens one specific weekend in October, open to sophomores and up only. It’s one of those beautiful bonding moments that binds a class together, and each class of technicians looks forward to their chance to experience it for the first time. It is a heralded techie tradition, and seem as somewhat of a right of passage.

Only one problem: this year, the event was double-booked with an important recruitment performance at the local middle schools, most notably John Quincy Adams middle school. Considering they need at least a crew of technicians with experience to help run the event, Jack had to make the executive decision to hold one class back to run it. Considering the sophomores are the group with the least credit, it only makes sense to require their attendance and mandate that they skip the conference.

Eric can smell the trouble this will cause from a mile away. He leans forward onto the desk, obviously all business.

> **Eric:**  A lot of feelings are going to be hurt if you make this decision. You do realize this, correct?
> 
> **Jack:**  Believe it or not, Matthews, this job is not all rainbows and sunshine. Sometimes, you have to make a tough call.
> 
> **Eric:**  I’m just saying, don’t say I didn’t warn you. This school is going to be hell this week because of it.
> 
> **Jack:**  You say that as if this school isn’t hell every week.

Ooh, sick (semi-self) burn. Off of Eric’s evident frustration as he storms out of the office –

**INT. AAA - HALLWAY - DAY**

That chaos is already beginning to brew, LUCAS FRIAR and ISADORA DE LA CRUZ marching after Shawn down the hallway. They’ve heard the news, and they’re none too happy about it. They’ve been waiting for this conference for a year now. Isadora was planning to submit to the student film festival they do, and had been storyboarding for weeks. What gives?

> **Lucas:**  They can’t just do this.
> 
> **Isadora:**  This is a right of passage for us. We have put up with all this crap for a year, we’re constantly doing things for the performers –
> 
> **Lucas:**  Let alone with any thanks –
> 
> **Isadora:**  How can we just not be going?
> 
> **Lucas:**  This is bullshit!
> 
> **Shawn:** _[ breaking, snapping ]_  Look, you think I don’t know that?

Shawn breaks his composure, whipping around to face them both. They stop talking to let him speak, but it’s clear from their expressions that they’re not going to stop being angry any time soon. Well, they’re always pissed, but especially now. Shawn tries to reel it back in, not wanting to take out his frustration on them.

> **Shawn:**  I’m trying my best. But you know how things are around here. You know which side of the school gets the favor.
> 
> **Lucas, insistent:**  What about Dora’s film?
> 
> **Shawn:**   _[ looking at Isadora, sympathetic ]_  We can still send it.

But it’s not the same. They all know it’s not the same as being there. Lucas and Isadora exchange a look, evidently pissed, as the opening tones of “Thriller / Heads Will Roll” kick up…

* * *

**Song Cue ♫ ♪ “Thriller / Heads Will Roll” as performed by Glee Cast || Performed by AAA Sophomores**

**INT. AAA - AUDITORIUM - DAY**

The sophomore performers are practicing the basics of their recruitment number, a mash-up of “Thriller / Heads Will Roll” as  _Glee_  so eloquently threw together back in the day. The performance will be performed at middle schools across the district as a recruitment tool at the end of that week, so they’re hard at work to make it lively, energetic, and naturally, perfect.

The techies, on the other hand, do not share such a dedication. In fact, given the current circumstances, they’re mostly pissed as hell and don’t feel like doing much of anything correctly or helpfully. So while the number progresses normally through the first half or so, by the time we get into the middle it’s clear that the techies are beginning to disrupt the rehearsal process.

This charge is accented by Lucas completely disrupting the number, jumping in with the spoken part of the mash-up (“ _Darkness falls across the land / the midnight hour is close at hand…_ ”). As he does so, the techies launch into full-on chaos, doing “important technical things” like moving set pieces, pretending to be accomplishing a very important task, but it really just means running in between the performer’s blocking, messing up choreography, knocking them over with stuff, etc.

MAYA HART desperately tries to get the number back on track (“ _Off with your head! Off with your head!_ ”), but it’s no use. The techies aren’t done until they decide they are, all of them jumping off the front of the stage and scattering into the audience. The performers attempt to finish the performance, but they’re all turned around and frazzled so it’s a mess of a conclusion.

* * *

And now they’re pissed, too. FARKLE MINKUS most of all.

> **Farkle:**  I WANT THEM ALL EXPELLED!

**_Cue title sequence._ **

Riley is somewhat grateful for the disruption, as it makes her own exhaustion and confusion come off as less out of the ordinary. Maya is pointedly trying to get everybody back on track, because apparently there are higher stakes to this recruitment business than Riley realized.

> **Maya:** Could we please get this back on track? Mr. Jacobs is going to be there Friday night and I don’t want to embarrass myself in front of him.
> 
> **Farkle:** _[ with a choked gasp ]_  WHAT?
> 
> **Riley:** I’m sorry, I’m – who?
> 
> **Zay:** Mr. Jacobs. He’s a big wig on the admissions panel for Julliard. It’s never a bad idea to get on his good side and curry some favor as early as possible.
> 
> **Maya:**  His daughters attend JQA, and there’s no way in hell I’m throwing away my shot to impress him.  _[ To the techies. ]_ So kindly, if all of you could stop ruining everything? Much appreciated. Muah.

Riley still doesn’t really get what the big deal is, but the rest of the coalition is clearly stressed so she decides she may as well be, too. She wanders off as the rest of the performers call for a break, trying to grapple with this news.

**INT. AAA - FILM STUDIES CLASS - DAY**

A darkened classroom, a film showing on the screen. It’s something older and spooky;  _Frankenstein_  or  _Dracula_ , maybe. DYLAN ORLANDO is conked out at his desk, drooling a little bit onto his notebook near the back of the classroom. NICK YOGI and DAVE WILLIAMS mess with him without waking him up, sticking markers together and trying to poke his ear.

Isadora is seated behind them, ignoring their antics but not paying attention to the film either. She’s dejectedly flipping through a journal, where she’s been taking notes and jotting down ideas for a film for well over a year. And now it’s a bust.

She flips to one of the earlier pages, where notes about a potential mockumentary surrounding Adams are scribbled. She sighs, glancing back up at the screen just as something monumental or scary happens. The lead actress screams bloody murder, and suddenly Isa’s eye light up with an idea. Slowly, a smile creeps onto her face.

**INT. AAA - HALLWAY - DAY**

Lucas is immediately accosted by Isa the moment he crosses paths with her, the latter shoving him out of the way and into a corner of the school. When he questions what the hell is going on, noticing the wild look in Isadora’s eyes, she barely gives him a second to catch up before declaring that she knows exactly what her film is going to be – and they’re getting their revenge.

She should’ve led with “revenge.” Lucas gestures for her to lead the way, the two of them jogging off to gather the rest of the techies.

**INT. AAA - JACK’S OFFICE - DAY**

Angela has dragged Shawn into Jack’s office to complain, fed up with the behavior of the techies and citing this instance with the recruitment rehearsal as the last straw. She remarks that the stunts they pulled were unacceptable, and demands that action be taken against them. Shawn fires back with the fact that they already had to give up something to appease her students, so he doesn’t see how they’re not already being punished. Jack attempts to mediate, but it’s evident that the bad blood between Shawn and Angela is far deeper than the party lines between their halves of the school.

> **Shawn:**  Forgive my kids for wanting their one well-deserved break from listening to you all screech every day of the week.
> 
> **Angela:** Your students don’t even do the assignments. They don’t perform –
> 
> **Shawn:**  BECAUSE THAT’S NOT WHAT THEY’RE HERE TO DO!
> 
> **Jack:**   _[ rubbing his temples ]_  This is my living nightmare.

Jack takes Shawn’s side in this instance, pointing out that no one was harmed in the messing of the rehearsal and that the situation is not ideal for either party. Angela attempts to plead for favor in the sense that if their performance doesn’t go well, it reflects poorly on all of them. But Jack has had enough, because believe it or not there are other things he has to attend to rather than their constant beef. He dismisses them both.

**INT. AAA - HALLWAY - DAY**

Shawn and Angela continue their tirade in the hallway, griping at one another and taking a couple more personal shots. We quickly learn that this grudge between them goes back many years, back to their own college days. Yes, Shawn & Angela were once an item, and a serious one at that. But when Angela wanted to pursue her artistic dreams and jet-set off to New York they broke up, and a heartbroken Shawn sort of lost direction and went down a couple of wrong paths. Shawn is stuck in this job on the good will of his half-brother to get a fresh start, and Angela somehow ended up stuck in the same place rather than being the superstar she always swore she would be.

It’s clear that there is lingering bitterness between them because of all of that, but also… maybe, lingering feelings? It’s hard to decide when the line between love and hate is so thin. Angela makes one off-hand, dismissive comment about the way Shawn runs his crew before storming off, leaving him embittered.

**INT. AAA - AUDITORIUM - DAY**

The techies are taking advantage of the quiet in the auditorium, assembled on the stage. Isadora has the rolling whiteboard and they are jotting down ideas, she and Lucas leading the groupthink and brainstorming ideas. As Isadora explains it, they are going to make her mockumentary about the ghost of Adams.

> **Dylan:**  THERE’S A GHOST?
> 
> **Isadora:** No, it’s a mock – could I finish?

There is no ghost, but they’re going to convince the performers that there is – by scaring the ever living shit out of them. And how? By using the technical prowess they’ve crafted over the years that the performers never even notice or appreciate in the first place. But to do that, they need ideas. Hence, the brainstorming session.

Dave raises his hand eagerly, waiting to be called on even though no one else is jumping up to speak. Lucas exchanges a look with Isadora, before pointing and granting him the right speak.

> **Lucas:**  What say you, Dave?
> 
> **Dave:**  Okay. Okay.  _[ catching his breath ]_ Okay. So, here’s an idea. We get a pair of crocodiles –
> 
> _[ Isadora pinches the bridge of her nose. Lucas’s eyebrows raise, but he doesn’t look opposed to the suggestion. ]_
> 
> **Dave:**  I know what you’re thinking, but I know a guy. So we get the crocs –

Shawn interrupts the brainstorm, immediately able to tell that something is up. He questions them as he approaches, all of them muttering something incoherent and discordant. Lucas casually steps in front of the whiteboard, shrugging and scratching the back of his neck.

When Shawn turns to Isadora, it’s hard to lie to her favorite teacher. She confesses, explaining their full plan. She prefaces that she knows it’s not necessarily couth, but she’s so sick of getting overwritten by them and all she wanted was to make this film… but Shawn disrupts her nervous ranting by claiming that he understands. No, Shawn doesn’t want to shut down the operation; he supports it full force. Fired up from his dispute with Angela, Shawn is more than ready to help them shake things up – and after all, every student project needs a faculty sponsor.

* * *

**Song Cue ♫ ♪ “This Is Halloween” as performed by The Nightmare Before Christmas Original Cast || Performed by Shawn Hunter & AAA Sophomore Techies**

**_[_**   _Lyrics specific to characters – follow along[here](https://docs.google.com/document/d/1-1iJKHw_wb_EapWHFvGEdSXBHNRljEYv5wHyCxdkfNM/edit?usp=sharing)!_  ** _]_**

As the song begins we see the techies starting to suggest more ideas with Isadora writing them on the board. As the lyrics begin, we see each person singing working on whatever piece of the pranks they are putting together. What exactly they’re setting up, we’re not sure, but there’s lots of spooktacular elements and fake blood involved…

When we come back to the last verse, the techies have assembled back on the stage. They’re putting together what operates like a staircase with apple boxes and other set pieces, and Jade is decorating Isadora in some items from the costume loft that make her seem more regal.

As we get to the entrance of “Jack” (“ _Our girl Smack is queen of the pumpkin patch_ ”), Isadora descends from the top of the made up staircase and Lucas runs up to help her down the steps, essentially marching in as the brand new ruler of the auditorium. Then they continue to goof around and congregate together, before descending into ominous laughter. Oh, spooky…

* * *

**INT. AAA - AUDITORIUM - DAY**

The next day. The performers are hard at work rehearsing dance moves again, ZAY BABINEAUX leading the lesson. Riley is doing her best to keep up, but it’s obvious she’s just rustier than everyone else. She bumps into SARAH CARLSON, earning a glare from her.

The rehearsal is somewhat thrown off by the presence of Isadora, who is now filming everything with her camera. She’s weaving throughout the performance, getting things on footage, collecting “B-roll” for her documentary. She is concentrated and hard at work, but the performers have no idea what she’s actually supposed to be filming.

Farkle is the first to vocally object, complaining that she shouldn’t be filming them when they’re not at their most polished. It’s not going to help their performance. Isadora snaps at him not to flatter himself, and explains that the film isn’t about them but the ghost of Adams. She’s attempting to create a documentary about the ghoul and how it continues to haunt campus to this day. When all the performers are like  _A GHOST???_  Isadora is like, oh, you hadn’t heard?

Still, not everybody is convinced.

> **Farkle:**  There is no such thing as ghosts.  _[ Launches into big, long, scientific explanation. ]_

As Farkle is ranting, Lucas saunters up behind him and spooks him. He yelps and nearly knocks his teeth out, Lucas ducking out of the way just in time and laughing. It’s not an encouraging laugh. If they thought the ghost was scary…

CHARLIE GARDNER, on the other hand, has a different approach.

> **Charlie:** Farkle is loud, but right. If ghosts were real, my devout Catholic grandmother would  _still_  be tucking in my shirts and telling me I’m going to hell for missing mass on Sundays for rehearsals.
> 
> **Dylan:**  I’m going to hell too, but that’s not why.
> 
> **Asher & Dave:**  _[ Laughing and high-fiving behind Dylan. ]_

Isadora continues to film as the students divulge in the discourse, more invested and less aloof than they would want you to believe.

> **Maya:**  Don’t Christians believe in demons, though?
> 
> **Charlie:**  They’re not really the same thing, but –
> 
> **Yindra:** My grandparents used to talk about ghosts all the time and how we had to pray them away.
> 
> **Maya:** See! Ghosts are totally a Christian thing.
> 
> **Farkle:**  Ghosts. Aren’t. Anything! They don’t exist!
> 
> **Yogi:**  Tell that to the elderly man who lives in my apartment and moves our furniture around when we’re not there.
> 
> **Charlie:** _[ concerned ]_ Are you… are you sure that’s not just some homeless squatter?

Angela brings an end to the chaos, frantically trying to get their rehearsal back on track.

> **Angela:**  OKAY, THAT IS ENOUGH. WE HAVE THREE DAYS, PEOPLE.
> 
> **Shawn:**  Unless the ghost gets you first.
> 
> **Angela:**  Do  _not_  encourage this!

**INT. AAA - ERIC’S OFFICE - DAY**

Riley opts to have lunch with Eric, the two of them chatting about how she’s adjusting. She does admit that she’s surprised by how intense it is, but she skates over how hard it is to keep up and feeling chronically behind. Instead, she gets Eric to talk about the whole techie conference debacle and why there seems to be such a vitriolic divide between the two sides of the school.

Eric attributes some of it to Shawn and Angela and their history, discussing how that certainly encourages and reinforces the negativity. But some of it, he concedes, is simply circumstance. Everyone is coming from their own experience and perspective, and often forget to remember that others may not share that point of view. Naturally, this is going to create clashes…

**INT. FOSTER HOME - ISADORA’S ROOM - DAY**

As if to speak right to this, Isadora is certainly coming from different circumstances than her peers. We quickly get the sense that she is in a foster home situation, she and Lucas crammed into the room she shares with another girl and attempting to get work done on their schematics for the techie scheme. Other children shrieking and chattering can be heard on the other side of the door, evidently irritating Isadora even though the door is closed.

Disrupting their focus, CATHERINA GONZALEZ (15), Isadora’s roommate, enters. She is cheerful, full of enthusiasm and thirst for life – a sharp contrast from Isa and her grumpy best friend. She rambles on to Isadora about her day and her plans for the rest of the evening, while Isa hums occasionally and mostly ignores her and Lucas watches the exchange silently with amusement. It’s evident that Catherina doesn’t catch onto how disinterested Isadora is at all.

The moment Catherina disappears, Lucas opens his mouth to comment when the foster mother steps in instead, interrupting them once again. This is KAREN VAN HERSCHING (40s), type-A, driven, and devoted mother – but not exactly on the same wavelength as Isadora and doesn’t put in as much effort as she should to meet her at her level. It’s clear from the way she greets Lucas that she is… uncertain about him, which is to say lowkey terrified he’s going to do something like steal her jewelry or vandalize her perfect off-white walls.

After a brief exchange and Karen checking if they need anything like a good hostess, she leaves them alone. Lucas waits to see if any more interruptions are imminent before speaking. He tries to ask Isadora about how this foster family is shaping out, indicating it’s not the first one she has been with but perhaps the one that has lasted the longest.

But Isadora doesn’t want to talk about it. Lucas points out that, hey, at least this woman seems to be putting in a modicum of effort. Isadora ignores the comment, redirecting his attention to the task at hand and making it clear that such topics are not being discussed this afternoon.

**INT. MINKUS HOME - DINING ROOM - NIGHT**

In sharp contrast to Isadora’s crowded foster home, the Minkus home is lavish, spacious, and more than able to accommodate Farkle and his many siblings. At present, four of them are seated at the dinner table with STUART MINKUS (late 30s) and JENNIFER MINKUS (40s) – Farkle, LILA MINKUS (18), URI MINKUS (12), and EZRA MINKUS (7).

Farkle is smack in the middle of this family with two other older brothers off at college already, and while it’s more than evident that it’s a loving clan there’s just not enough attention to go around most days. Jennifer is distracted with Ezra, and Stuart is attempting to get Uri engaged in conversation about his school day.

During the conversation, Farkle consistently attempts to gain control of the dinner topic, finally just blurting out whether or not they all believe in ghosts. This captures their attention certainly, all of them laughing it off or scoffing. Farkle, please! Why would he even ask such a silly thing…

> **Farkle:**  No, yeah, yeah, of course. I know. I  _know_ , obviously. I just… yeah. I know.
> 
> **Ezra:**  Wait, why are we talking about ghosts? Are they real?
> 
> **Jennifer:**  Of course not, dear, Farkle is just being silly. Aren’t you, darling?
> 
> **Farkle, flatly:**  Oh, that’s me. I’m as silly as they come.

Somehow, the conversation shifts gears until Farkle is forgotten again. He accidentally knocks over a water glass and makes a mess, causing both the parents to get up and run to get stuff to clean it up. Lila, clearly harboring a somewhat contentious relationship with her closest in age sibling, rolls her eyes disdainfully.

> **Lila:**  Why are you  _such_  a disease?
> 
> **Farkle:** _[ chews pointedly and obnoxiously in her direction ]_

Once the dust from his accident has settled, Farkle tentatively mentions the upcoming performance at JQA and asks if his parents and siblings will be able to make it to any of the middle school recruitment performances. Especially given the special guest of Mr. Jacobs… Stuart fondly recalls the business dealings he’s had with Jacobs, but doesn’t confirm or deny his presence at the performance.

When Farkle pushes further, all of them express pity and point out x commitment and y reason that they can’t make it. But they’re sure he’ll do great! Farkle brushes it off, acting as though it doesn’t bother him. But he’s pretty quiet at dinner after that.

**INT. AAA - AUDITORIUM - DAY**

As the week progresses, a series of odd and unusual “hauntings” begin to happen at the school, prompting discussion amongst the students. A couple of them even mention how a couple videos have been featured on their rogue instagram page,  _AAA Confessions._

We haven’t seen the terrors hit the performers full force until rehearsal one afternoon, in which CHAI FRESCO (15) is practicing the opening operatic tones of “Think of Me.”

* * *

**Song Cue ♫ ♪ “Think Of Me” as performed by Phantom of the Opera Original Cast || Performed by Chai Fresco (feat. AAA Sophomores) || First 40 seconds**

While Chai is rehearsing, a set piece seems to mysteriously fall apart and come crashing down – seconds from where Farkle is pacing and running choreography. Maya pulls him out of the way just in time, obviously stunned by how close it came to falling on top of him.

To be clear, the set piece is just thin wood and probably weighs less than five pounds. It wouldn’t have done much damage to anyone, but the sound it makes as it hits the stage floor startles all of them. The moment is clearly an homage to  _Phantom_ , prompting screams and an assemblage of the performers to launch into “HE’S HEREEE, THE PHANTOM OF AAA!” Farkle is like okay can you all  _shut it_?

* * *

This isn’t the first happening they’ve experienced that week, however, and people are starting to change their tune. As Angela calls for a break and Shawn instructs Dave and Dylan to go and fix the broken set piece, Maya makes a dash for the dressing room. Riley watches her go, contemplative.

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Maya is attempting to shake off the nerves from the spook, whispering to herself and taking deep breaths. Riley follows her in, hanging back for a moment before Maya spots her in the mirror. Embarrassed, Maya snaps at her for what she wants.

Riley tries to put her best foot forward, offering a helping hand and claiming she has some techniques she uses to calm down if Maya wants them. There’s a moment where it seems like they may come together, but Maya has been independent for a long time and doesn’t plan to let her walls down any time soon – let alone to a nobody like Riley.

She redirects instead, pointing out how she doesn’t see how Riley could possibly be of any help to her when she can’t even keep up with the rigor of the curriculum. Ouchie! Riley takes the blow, nodding and backing off. The moment she’s gone, Maya lets out a long exhale, hiding her head in her hands.

**INT. AAA - BOYS DRESSING ROOM - DAY**

The discussion over Farkle’s near “brush with death” continues in the dressing room. Although it seems like Charlie and the others are starting to wonder whether the ghost may be real, Farkle maintains his skepticism almost like an act of defiance. But he’s a bit too crazed over it to be wholly convincing.

Zay has his own doubts, and he expresses as such before gearing up to head out. He’s off to do a little investigating of his own.

**INT. AAA - HALLWAY - DAY**

Riley is en route to lunch when Charlie catches up to her, offering to join her for lunch since she’s still trying to figure out her place. We still can’t tell if he’s genuinely a nice person or if he’s trying to  _get with_  Riley, but she does humor the conversation long enough to get something further out of the conversation.

The two of them stop in the hallway just by the library, the cafeteria doors down the hall. Charlie stuffs his hands in his pockets and leans against the wall, launching into a lament about how it is a shame that this ghost stuff seems to be cropping up at the same time as the recruitment performances. Riley probes further.

> **Riley:**  Why is it such a big deal? _[ hesitating, then batting her eyelashes ]_  You know, if you can tell me.
> 
> **Charlie:**  I don’t really think it’s so much a secret as people not wanting to come off too vulnerable. But these kind of showcases, they’re really important to a lot of people in class. You know, everyone is trying to prove they’ve got what it takes.
> 
> **Riley:**  Farkle.
> 
> **Charlie:**  Farkle, sure, but the rest of them too. Maybe not for the same reasons, but you know what they say. Everybody’s got something to hide.  _[ Glancing at Riley, looking her over. ]_  You know what I mean?
> 
> **Riley, uncertain:**  Right. Sure.

Charlie rounds out the conversation by pointing out the very true fact that most of the odd happenings have occurred in the auditorium. He just wishes it would cease and desist so they could get some practicing done. If someone could exorcise whatever demon is haunting them, they’d sure be a hero. The wheels in Riley’s head are turning…

When Charlie asks if she’s ready to go eat, Riley pretends to have forgotten something in the auditorium, saying she’ll meet him later. He waves and heads off, Riley ducking back towards the auditorium. If the sophomore class needs a hero, then she’s willing to step up to the plate.

**INT. AAA - HALLWAY - DAY**

Riley continues her journey to the auditorium, making sure to duck out of the way and sidestep as people pass her to head towards lunch. She ducks into an open doorway and watches as Isadora passes with Asher, Dylan, and Jeff tailing behind her, confirming that the techies have vacated the auditorium.

Making it to the doorway to the dressing room hall, she ducks into the doors and disappears.

**INT. AAA - AUDITORIUM - DAY**

Poking around the darkened theater, behind the scenes, the auditorium seems much more sinister than it does during class. It’s almost humorous, the way the technical aspects of the room – set pieces, costume loft, prop loft – seem to loom over her and intimidate her as if they’re straight out of hell.

Spooky music accompanies her as she makes her way around, wandering where she shouldn’t and searching for any sort of clue as to what may be causing all of the strange happenings. She continues to hit dead-ends, until she changes her track and heads towards the world beyond the stage: the audience, the aisles, and the technician’s booth looming so far away from them all.

In fact, the technician’s booth seems like a worthy thing to investigate. It’s so mysterious and removed, and if anything would hold answers that would be it. Riley glances over her shoulder, jogging towards the back row of seating and the stairs that lead up to the technician’s booth. She hesitates, hand hovering over the handrail, before taking the plunge.

She takes the steps two at a time, slowing the closer she gets to that hulking black door. It’s unassuming yet insurmountable, and Riley grows more apprehensive the closer she gets. The door handle is right in front of her, waiting… the music quiets as she reaches a hand out… inches away from the other side of their world…

> **Lucas, from below:**  HEY!

DUN DUN DUN! Lucas’s shout acts as a jump scare both to us and Riley, causing her to startle and whip around. Lucas is glaring at her from the bottom of the stairs, as unfriendly and unsettling as usual. Talk about truly terrifying.

> **Lucas:**   _[ tilting his head ]_  You’re not supposed to be in here.
> 
> **Riley:**  Oh, yeah. Yes. Well, I was just… see, I was only…

Riley has no excuses and no probable explanation for her presence. At least, none that Lucas would take or appreciate, she’s sure. As she struggles to find an excuse, Lucas begins making his way up the stairs in her direction. Each step of his big black boots is like an impending sense of danger, and Riley would run if her brain would start working again. But it’s completely shut down, unable to form a coherent thought, plausible excuse, or get her feet moving so she can escape and live to see another day.

Lucas comes to a stop on the step below where she’s standing, allowing them to stand at approximately the same height. Riley trails off with her stammers, pressing her lips together nervously and avoiding his gaze. Lucas simply examines her, getting a good look at her. Riley has to wonder if this is the end for her – he  _does_  have a switchblade, after all.

Instead, Lucas waits for her to glance at him and meet his eyes. Then, a simple message:

> **Lucas:**  Mind your own business.

Then he leaves her alone, continuing his trek up the stairs and disappearing into the technician’s booth. The door slams, causing Riley to jump again. She takes a moment to catch her breath, closing her eyes and trying not to like, pass out. Then she makes a beeline out of there.

**INT. AAA - CLASSROOM - DAY**

Zay, on the other hand, is conducting analysis of his own. As he works in math class, he notices Jade and Dave continuously tossing glances in his direction when they think he isn’t looking.

Thoughtful, Zay waits until the rest of the class has left when the bell rings before approaching the two of them. He questions if they’ve also noticed the strange behavior supposedly attributed to the ghost. Jade acts nonchalant, but Dave stumbles a bit which Zay catches onto. Jade excuses them both, but Zay has gotten the lead he needs. Something else is up, and he’s not going to let it drop so easily.

* * *

**Song Cue ♫ ♪ “Somebody’s Watching Me” as performed by Rockwell || Performed by Zay Babineaux**

As Zay continues his way through the halls and throughout the school day, he takes note of all the moments where the techies are acting weird or seem to be just behind him or in his line of sight. It’s evident to him that they’re behind whatever is going on, he just needs some proof.

He gets his proof as he turns the games on them and starts trailing each of the techies, trying to see if he can catch any of them doing something suspicious.

* * *

**INT. AAA - COMPUTER LAB - DAY**

His search comes to an end as he corners Isadora in the computer lab, working on a cut of her documentary. She dodges his interrogations at first, but the more he pushes the more easy she is to crack. She admits that they’re behind the whole thing, but begs him not to blow the ruse until she can get all the footage she needs.

Zay passes her to take a look at the footage, watching with amusement as Farkle and Maya freak out on camera. He thinks for a moment, before declaring he’s not going to rat her out. On the contrary – he wants in on the joke.  

He may just be the key they need to convince Farkle, considering he would never believe another performer would be in on the ruse. And Zay has known him for two years now, he’s observed enough about Farkle’s psyche to know how to crack him. Forging a temporary truce, Zay and Isadora shake on it.

**INT. AAA - AUDITORIUM - DAY**

Using Zay as their inside man, the techies pull off their final prank on that Friday, the same day that the recruitment performances kick off. They haven’t gotten much rehearsing done all week, and this day is no exception despite how frantically Maya tries to get them all to pull it together.

As the mirage unfolds and they essentially pretend to (convincingly) kill Zay after he is kidnapped by the ghost, Farkle cracks and totally freaks out. The prank falls apart after Zay breaks character, and the techies all burst into laughter now that Isadora has gotten all the footage she needs. The performers realize what has happened and that they’ve been messed with, and they are none too happy.

> **Maya:** What, do you think you all are so smart? You think you’ve done something really great?
> 
> **Isadora:**  Well, no, not yet. Still needs to be edited, but –

Maya is  _pissed_ , and the rest of the performers share that energy. When Zay tells her to calm down and that it’s not that deep, she retorts that it is, because they’ve wasted an entire week and now they’re going to embarrass themselves in front of a bunch of middle schoolers and people whose opinions actually matter. The techies fire back that they had to give up something already, so perhaps this can even the slate.

It’s clear that the divides that exist between the school are running even deeper than ever. Riley watches it all unfold, not quite feeling a part of any of it. Somehow isolated even in a situation where her placement should be effortless and easy. Maya storms out first, leaving tensions high.

**INT. AAA - BLACK BOX THEATER - DAY**

Angela and Shawn are at it again, having a sparring match over what unfolded in class that afternoon. They’ve convened in the actual performing classroom, the black box, and it’s more claustrophobic than the halls. As they argue, their words seem to echo off the walls.

Shawn claims that the students just got what was coming to them. Angela scoffs, commenting that Shawn is just as childish as them and as he was the day she left him. This is a deep cut, and Shawn doesn’t have much to say in response. She states that it’s time both of them grew up – that he stops spreading his petty energy and tantrum throwing to the students, and that she stops holding out the foolish hope that he’ll change.

Shawn wants to get another word in, to stand up for himself, but Angela claims she doesn’t have the time. She has a class to lead in a performance that’s going to be tough for all of them, considering his students fucked it all up. Shawn is left behind, seething. He knocks over some papers from the desk, running his hands through his hair.

**INT. RILEY’S BEDROOM - NIGHT**

Riley practices along in her bedroom, dressed for the recruitment performance but with her mind elsewhere. She sits in her bay window and strums her ukulele.

* * *

**Song Cue ♫ ♪ “Creep” as performed by Jahzel || Performed by Riley Matthews**

Riley sings this stripped down version of “Creep” by herself, demonstrating her talent when its just presented and allowed to simply be. It reflects the frustrations she’s having fitting in with her classmates, and feeling as though she doesn’t quite belong (“ _What the hell am I doing here / I don’t belong here_ ”).

When she finishes, Cory pokes his head in and asks if she’s ready to go. She hesitates, then nods, dropping her ukulele on the window seat and getting to her feet.

* * *

**INT. JOHN QUINCY ADAMS - BACKSTAGE - NIGHT**

The performers have assembled, Angela leading the charge. She leads them through warm-ups, before confirming if they have the same sense she does that their number they’ve been half-assing all week just isn’t going to cut it. They all agree, they haven’t practiced it enough.

Angela claims they should go on loose, then, and perform something fun that they all know. That’s what this is all about, isn’t it? Doing it because it’s fun and because you love it. When she asks for suggestions, instantly Maya, Farkle, and Zay all shout “TIME WARP,” because it’s the quintessential Halloween theater kid song from a quintessential theater kid movie.

**INT. JOHN QUINCY ADAMS - AUDITORIUM - NIGHT**

The techies are all in their positions, begrudgingly so. Lucas and Isadora are hanging out in the booth waiting for the performance to start when Shawn darts in, late again but seemingly on a mission. He pulls the two of them aside, telling them to go to the festival.

> **Shawn:**  Did you finish the film?
> 
> **Isadora:** Yes, I submitted it an hour ago. Why?
> 
> **Shawn:** Good. Then you’ll want to get going if you want to get there in time.
> 
> **Lucas:** What?
> 
> **Shawn:** Go. Both of you, get going and go represent triple A. If you leave now before this starts, you can still make it.  _[ to the others ]_  Dylan! You can cover the board?
> 
> **Dylan:** Aye, aye, captain!

Lucas and Isadora are totally stunned, questioning if that’s allowed and whether it’ll cause more trouble and a myriad of other questions. Shawn shrugs them all off, getting both of their attention and looking them in the eyes. The words he speaks next are impassioned, coming from his own experience, and also act as a lesson for a good portion of the series.

> **Shawn:**  Look, sometimes, you can’t let the man tell you what to do or how to be. If something is important, if it matters, you go out and you do it anyway. Only you can decide who you are and what matters. You stand up for yourself. Do you hear me?

Lucas and Isadora nod, getting the message loud and clear. Shawn gives Lucas a pat on the shoulder before pushing them towards the doors. They peel out just as the opening tones of “Time Warp” fill the auditorium…

* * *

**Song Cue ♫ ♪ “Time Warp” as performed by Glee Cast || Performed by AAA Sophomore Performers**

The performers take to the stage, doing a fun, loose, and kooky rendition of the classic Halloween dance number. They all actually look like they’re having fun, and the middle schoolers are clearly having fun too. In the back of the theater, the mysterious Mr. Jacobs watches with an intrigued eye.

Lucas and Isadora sprint into the parking lot, making it to the car Isadora is allowed to use. Lucas hops in the driver’s seat, the two of them backing out of the parking lot and exchanging a grin before heading on the way to the conference.

As it stands, there’s no way this performer / techie divide is going away any time soon. Neither is the tension between individuals. But for now, for a moment, they can share in the one thing that brings them all together and brings them joy – the rush of a successful production.

* * *

_END OF EPISODE._


	5. Under Pressure [ 1.03 ]

**Summary for the Chapter:**

> TALENT-FOR-BRAINS – Maya struggles to keep up with her academic requirements, but being given Farkle as a tutor is far worse. Charlie volunteers to tutor Zay. Riley fights to keep up after her introduction to a harsher feature of AAA.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://t.umblr.com/redirect?z=https%3A%2F%2Fopen.spotify.com%2Fuser%2Fauthorisasauthordoes%2Fplaylist%2F5R7px9cVwMaSFJQj8osIur%3Fsi%3Dg5BG-Hr4Qyq7OgiTZ0GmpA&t=MjAzZjM3YTQ5MWE0MmZmOWNiYzU4ZTFmYWY1MmM5NzUxYzE4MDU5ZCxGalRsZERMWQ%3D%3D&b=t%3AkDXCOjdyQYrhnuEmlkaYMA&p=https%3A%2F%2Ffriarlucas.tumblr.com%2Fpost%2F184556316482%2Fambition-season-1-first-impressions-pilot&m=1)! )

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Pump It” as performed by The Black Eyed Peas || Instrumental**

No easy introduction into this episode, as we open in the midst of an intense rehearsal for the performers. They’re up on the stage, working through a fast-paced and high-energy dance routine. MAYA HART, ZAY BABINEAUX, and CHARLIE GARDNER take front and center, breezing through the moves like it’s in their blood. They are clearly the star dancers of the class.

In the second row, RILEY MATTHEWS is working her ass off to keep up. It’s evident she is putting her all into it, but as she’s been struggling to accept since she arrived at Adams, she just hasn’t had the training or sole focus of her peers. Even FARKLE MINKUS is performing it more confidently than her, although dancing definitely isn’t his strong suit.

In the seats outside the technician’s booth and along the stairs, the techies are lazing around and clearly not as strained as the performers. They’re enjoying the fact that they don’t have to put out so much physical exertion as their classmates, doing homework and generally not paying attention. ASHER GARCIA, DYLAN ORLANDO, and NATE MARTINEZ play cards.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

JEFF MONROE is working the lighting board, ISADORA DE LA CRUZ cramped in a rolling chair behind him and working on a homework assignment. They are numb to the intensity of the performing at this point, zoning out.

Behind the soundboard is LUCAS FRIAR, also working on an assignment and hardly paying attention. Still, he a little less zoned out than usual. He keeps glancing back out towards the stage, watching the dance routine unfold. His expression is tinted with disdain like usual, but a little more difficult to read…

**INT. AAA - AUDITORIUM - DAY**

The song is nearing its conclusion. Riley is having more and more trouble keeping up, one misstep snowballing into another and trapping her in her own head. She bumps into DARBY WINTERS, who helps her back upright but at that point it’s too late. Their whole row is a couple steps behind.

SARAH CARLSON bumps her back, sending her off-balance. Notoriously klutzy, Riley takes the hit and tumbles to the floor just as the song ends. A few classmates break into laughter or chuckles, Zay and Charlie dashing forward to offer her a hand. She takes the help from Zay but shies away from Charlie, but he doesn’t seem to take it personally.

* * *

ANGELA MOORE gives them reassurance that they’re doing great, and mishaps are natural in the rehearsal process. Farkle scoffs, drinking from his water. Riley elects to ignore him, avoiding the eyes of everyone else. As they’re dismissed, Angela comes forward to check in with Riley and make sure she feels okay. She assures her that she’s fine, just still working on getting the steps.

> **Angela:**  Well, you know, Riley, everyone has their strengths. And everyone learns at a different pace. It could just be that you need a little more time or practice –
> 
> **Riley:**  I’m working on it, Miss Moore. I’m fine. I promise.

Riley’s smile is tight. Angela accepts this, patting her shoulder and leaving her be. Riley chews her lip, stomaching her frustration and spinning towards the dressing rooms.

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Riley saunters into the dressing room, sweaty and exhausted, only to find all eyes on her. The girls are giggling, phones out and clearly all in on the same inside joke. Riley makes a face, shrugging her shoulders as she heads over to her spot by the mirror.

> **Riley:**  I get it. I fell, ha ha ha. I don’t see how it’s  _that_  funny.
> 
> **Yindra:**  Oh, honey… you don’t know about the Insta, do you?

Riley blinks at her, obviously lost. YINDRA AMINO gestures for CLARISSA CRUZ to hand over her phone, passing it towards Riley. She takes it, looking at the open page on the Instagram app.

It’s  _AAA Confessions_ , a gossip and meme page created anonymously for the AAA student body. I.E., a staple of every American high school experience, and with a bunch of dramatic, type-A personalities crammed into one school you can imagine that the page gets a lot of traction and following. It allows students to private message the account and submit photos and videos – often unflattering – of their classmates, with a rumor or often unkind comment as the caption. It’s completely anonymous, allowing people to say shit without facing the consequences.

And the latest post? Riley’s tumble during rehearsal. The caption is less than flattering as well, basically commenting about how it’s almost the end of first semester and she still doesn’t seem to have caught up… so what is she still doing here? Yindra tries to say something comforting about how the page is stupid and never means anything, but Riley isn’t listening. She keeps watching herself fall down over and over, lost in the humiliation of it…

**_Cue title sequence._ **

**INT. AAA - GIRLS BATHROOM - DAY**

Riley is hidden away in a stall, covering her mouth to stifle her sobs. She’s determined to prove them all wrong, but she is going to  _need_  that crying session first. She continues to cry to herself until she hears the bathroom door swing open, immediately trying to get quieter and hiding her feet up on the toilet seat.

She watches underneath the stall as the new bathroom patron approaches, dreading seeing the designer boots or flats of her less-than-welcoming classmates. Instead, a pair of ratty Converse make their way towards the sinks. They also don’t let her get off scot-free.

> **Isadora:**  No use getting your shoes dirty when I already know you’re in there.

Riley exhales, glancing down at her awkward posture crunched up attempting to hide. She gives up, exiting the stall and sauntering up to the sinks. She avoids Isadora’s inquisitive expression as she wipes at her eyes, splashing water on her face and hoping to reduce how flushed her cheeks are. Isadora continues to examine her, neither one of them saying anything.

Then, Isadora reaches up and grabs a paper towel from the dispenser. She folds it carefully, looking at it rather than Riley.

> **Isadora:**  The people here suck.

She holds out the towel to Riley, offering it. Riley glances at it, then her, before exhaling half a laugh and accepting it. She nods and manages a smile, using the towel to dab at her eyes and cheeks. Isadora doesn’t say any more, heading out of the room. Riley watches her go, genuinely grateful for the momentary extension of kindness. Especially from somewhere so unexpected.

**INT. AAA - BLACK BOX THEATER - DAY**

CORY MATTHEWS is meeting with Angela and SHAWN HUNTER. Both of them look surprised, obviously displeased with whatever message Cory has come to convey. He doesn’t exactly look thrilled to be having this conversation either.

As it stands, a handful of sophomore students are failing some of their core curriculum classes. As their academic teacher, it is Cory’s responsibility to inform Angela and Shawn of this problem and, under duress from Principal Hunter, insist that if they do not bring up their grades that they be barred from all creative activities.

Cory hands over the list of students to Shawn, Angela leaning over his shoulder to take a look. The students on probation are  **Dave Williams** ,  **Dylan Orlando** ,  **Haley Fisher** ,  **Nick Yogi** ,  **Zay Babineaux** , and  **Maya Hart**.

Angela is particularly stressed over this, as she cannot afford to bar Maya from the creative side of her schooling. They have the fall showcase coming up in which representatives from each school in the district go to show off their strongest performers and vye for more funding, and she was counting on Maya to be that star. Shawn fires back, claiming she could hold auditions rather than picking her favorite like every other stereotypical theater teacher in the history of the arts.

Cory says it’s as simple as each of the students on probation passing their next round of exams. They all can make it, they’re just going to need a little push. And all three of them agree on one thing – it should not be shared which students are on academic probation.

**INT. MAYA’S APARTMENT - NIGHT**

As it turns out, not  _all_  of the students on probation are going to be as easy to uplift academically. Maya is blowing off her homework at the tiny kitchen table, humming to herself and distracted. Academics simply aren’t her thing, and if she could have it her way she wouldn’t be doing them at all. What she truly cares about is performing – which is a problem when you’re there specifically on scholarship.

KATY HART (late 30s) breaks her from her daze, entering the apartment in a huff and carrying groceries. Maya jumps up and helps her unload, starting to help restock their small kitchen. Katy broaches the question of how school is going, mentioning that she saw in the mail that there was a letter from Principal Hunter. Maya brushes it off, assuring her not to worry about it, even though she has a feeling it probably has to do with her grades.

Katy warns Maya not to get too comfortable. The scholarship she has that allows her be at the school is crucial to her attendance, and she doesn’t want to do anything to jeopardize that. Maya agrees, but she doesn’t seem wholly confident in her ability to promise that nothing will change. She glances at her unfinished homework, before continuing to help her mother with groceries.

**INT. BABINEAUX HOME - DINING ROOM - NIGHT**

The Babineaux family has received the same letter, only there’s no mystery as to what it contains. DONNA BABINEAUX (40s) is grilling Zay as she prepares dinner, OMAR BABINEAUX (40s) working on the crossword and listening along. Zay claims he doesn’t see why he has to bust his ass in history class when all he is there to do is dance, but Donna points out that he’s still there to be a student.

> **Donna:**  You don’t give those teachers any excuse to be harder on you than they need to. You know you have to work three times as hard as everyone else.
> 
> **Zay:**  I know. Believe me, I am.
> 
> **Donna:**  And that goes double for academics. I know how difficult it can be for you, which is why we need to work even harder. You hear me?
> 
> **Zay:** Yeah, yeah, yeah.

Omar meets Zay’s eyes over the paper, nodding along to everything Donna is saying. Clearly agreeing. But then he makes a face, just to brighten the mood a bit. Zay can’t help but smirk, his mother continuing to ramble on about the next thing.

**INT. AAA - BLACK BOX THEATER - DAY**

The class is assembled, obviously restless in the smaller classroom setting and desks rather than the auditorium. Cory is there as a guest that day, causing Riley to slouch even further than usual in her seat. Still, classmates toss silly glances at her.

Angela introduces Cory even though they all already know him, before he steps forward and explains his presence.

He is going to be holding “Academic Boot Camp” for those students who may be experiencing grade issues and need a little extra help. They know who they are. The meeting will be completely confidential to those who attend, and it will be beneficial to all who attend. While this announcement avoids the embarrassment of calling out those students on probation, it does alert the students to the fact that there are classmates under the academic gun. Interesting…

Maya looks particularly uncomfortable, trying her best to remain neutral but knowing this is directed at her. Shawn and Cory exchange a look, pre-lapping into the next scene…

**INT. AAA - ERIC’S OFFICE - DAY**

Shawn is in Eric’s office, lounging in the chair across from the desk and tossing around one of his stress balls as Eric organizes his papers. They’re discussing the academic boot camp idea, Shawn lamenting the fact that it puts the pressure on the students struggling to come forward and put themselves out there.

> **Shawn:** I mean, I remember being in high school and hating every second of it. Knowing I wasn’t smart, having to face that day by day and grade by grade. You could not have paid me to willingly attend an academic boot camp.
> 
> **Eric:**  Well, I don’t know. The students here are a lot more dedicated to their studies than you were – no offense. _[ Off Shawn’s shrug. ]_ For those who really want their time here to mean something, they’ll put the effort in.
> 
> **Shawn:**  You should’ve seen the look on Maya Hart’s face. And it’s even worse for her, considering she’s on scholarship. I mean, if she doesn’t get those grades up –
> 
> **Eric:**  What?

Shawn is surprised by Eric’s naivety. Doesn’t he get it? If Maya’s grades continue to suffer, there’s no way they’re going to keep her as a student on scholarship. It goes against the entire concept of “scholarship.” Eric is in a tizzy, stating they can’t possibly do that to her. Shawn’s like don’t get all hissy with me, take it up with my brother. Eric’s like don’t think I won’t, gathering his things and storming out. Shawn sighs, tossing the stress ball and catching it.

> **Shawn:**  Lovely chat, then.

**INT. AAA - CORY’S CLASSROOM - DAY**

Maya uneasily makes her way into the classroom after school, greeted by Cory at his desk. Angela and Shawn are also present, as well as the other five probation students. Maya and Zay size each other up, somewhat shocked to see the other present. Maya slides into her seat.

Dave and Dylan aren’t surprised to be there considering they share a collective brain cell, but everyone else is a bit of a shock. As Cory gets up to start the meeting, Maya interrupts when she expresses that there’s no way no one else is coming. Pointedly, Zay says that Lucas isn’t there.

> **Zay:**  Is he really bold enough to skip out on  _academic boot camp_?
> 
> **Shawn:**  Actually, Lucas has excellent grades.

The entire group is collectively shook. But Lucas isn’t the focus of this gathering, as Cory points out to get them back on track. He instructs them to crack open their textbooks, Maya and Zay exchanging another look before doing so begrudgingly. Swimmingly, this whole thing seems to be going. Cory gives an encouraging smile to Angela.

**INT. AAA - JACK’S OFFICE - DAY**

Eric storms into Jack’s office, not waiting for a greeting and immediately questioning how he could be heartless. Jack rolls his eyes, closing his work and already with thin patience.

> **Jack:**  Oh, how I love how you barge into my work space without warning. Hello, Eric. How are you this afternoon? Could I get you anything? Any water or perhaps a coffee before you gesticulate all over my office?

Eric ignores his sarcasm, launching into a tirade about how he could possibly consider removing Miss Hart from the school because of something as small as academics. She’s some of the most talent they have to offer, and he would just oust her?  _Knowing_  that she can’t pay on her own?

Jack fires back with offense at the notion that academics are small, pointing out that there are plenty of students here just as talented as her and taking their academics seriously. And Maya’s grades are abysmal, he can’t in good conscience keep supporting her if nothing changes. He knows she’s a great girl, she’s got talent. Of course, he doesn’t want to take away her funding, but it’s not fair to the other students earning their scholarships.

* * *

**Song Cue ♫ ♪ “Teacher’s Argument” as performed by FAME! Original Broadway Cast || Performed by Eric Matthews & Jack Hunter**

Eric launches into the opening verse, advocating for the artistic integrity of a student and how academics shouldn’t bar them from pursuing their dreams. Jack is coming from the alternative angle, claiming that artists are people just like everyone else and have to earn the respect of their peers and their place at the table.

The song serves to highlight the two very different backgrounds that Eric and Jack are coming from. Eric was a performing arts student in his youth just like the teenagers at AAA, and so encouraging their dreams is the most important thing to him. He had the support of his parents and the means to flounder around a bit until he figured out who he wanted to be. Sure, he didn’t accomplish his grand dreams, but he believes in every single one of them. He doesn’t want any of them to get ignored and brushed off the same way he did.

Jack, on the other hand, had no room for floundering. He grew up trailer park trash in Philadelphia with his father and Shawn and then with his mother in Virginia, and the only thing that allowed him to gain the respect of others was through academics (“ _Put your faith in books / that will protect you / put your faith in books / and a mind of your own / neither charm nor looks will make them respect you / you must learn to stand alone_ ”).

* * *

They are evidently deeply torn on this argument, and neither is going to back down when it comes to Maya Hart. Thus, it’s imperative that she get those grades up. Perhaps, Cory’s boot camp will avoid all of the potential drama before it starts.

**INT. MATTHEWS APARTMENT - NIGHT**

However,  _AAAC_  has other plans. As Riley as eating dinner with her parents and Auggie – Cory and Topanga not speaking much at all currently – she gets a notification on her phone. It claims that  _AAA Confessions_  has made a new post, indicating that Riley sure followed the page after she showed up on it.

When she goes to look at the post, it’s a momentary relief to see that she is not the victim of the latest update. But she realizes the trouble that this post is going to spread a second later. Maya’s  _SCREAM_  preluding the following scene speaks enough for it –

**INT. AAA - BLACK BOX THEATER - DAY**

Maya and Zay are in Angela’s classroom, freaking out over the latest post. It’s a hastily taken photo of Cory’s classroom during boot camp, snapped from the hall outside. Although it’s blurry, all six of the probation students are visible, so their secret is effectively blown. Angela has a lot of questions about this Instagram they all seem to be following, but Zay and Maya are way more concerned about the fact that the entire school now knows they’re stupid.

> **Angela:**  You are not stupid. Everyone learns at their own pace.
> 
> **Maya:** Yeah, okay, you can say that to Sunshine Matthews to make her feel better about her two left feet, but that does nothing for me.

Angela assures both of them that everything is going to be fine, and for now they are going to handle this the way any professional would handle a scandal breaking. They are going to confront it head on and accept it for what it is.

**INT. AAA - AUDITORIUM - DAY**

This involves publicly discussing the events in class, where Cory has joined them again. Now that they are no longer keeping things a secret, it seems that the best way to go about things is to match each struggling student with a tutor. That’s what all this is about, anyway, helping those falling behind get back on track.

> **Wyatt:**  Who’s going to give Matthews a dance tutor?

Riley ignores this commentary, crossing her arms and pushing her hair behind her ear. Her mood is changed when Angela also explains that the fall district showcase is coming up, and she’s going to need a female representative to go for AAA so she’ll be holding auditions over the remainder of the week. Riley perks up, figuring with Maya on academic probation this may be her chance to show off her stuff.

Cory and Shawn launch into matching students with their tutors. For some, the process is relatively simple.

> **Asher:**  I’ll tutor Dylan.
> 
> **Dylan:**  LOVE OF MY LIFE!  _[ running and tackling him with a hug that almost knocks him over ]_

Isadora volunteers to tutor Dave, claiming she’ll enjoy the challenge. NIGEL CHEY volunteers for Yogi; Clarissa for Haley.

When Zay is offered up, Charlie jumps at the chance. Cory argues that he needs to be focused on rehearsals (as he’s representing AAA at some other event… there’s a lot of schmoozing and showing off going on at these arts schools), but Charlie insists that he can do both. What better way can he represent what AAA stands for then by improving the circumstances of a fellow student. Zay makes a face at this, obviously a bit miffed at the insinuation that he’s in such dire need of improvement.

As Charlie is pleading his case to Shawn and Cory, Dave interrupts suddenly.

> **Dave:** _[ staring at Shawn and Charlie standing next to one another ]_  Mr. Shawn, is Charlie your son?!
> 
> _[ A beat as everyone scrutinizes them – they do look very similar. Charlie beams. ]_
> 
> **Shawn:** This goody-two-shoes? Please.
> 
> **Angela, warningly:** Shawn…

Out of arguments and figuring it’s not really worth the fight, Cory grants Charlie the right to tutor Zay. He seems far more enthused about it than the latter. This leaves Maya, and only one eligible student tutor left to match with her – Farkle.

Both of them are like absolutely NOT happening, but they really don’t have many other options. Farkle needs the hours to maintain his status as a student tutor, and Maya  _needs_  the academic help. In some ways, there’s no better match since Farkle is their top student academically. But Maya still has her objections.

> **Maya:**  I refuse. I refuse, I’m not taking anything from him. Except maybe my rightful place in the spotlight.
> 
> **Farkle:**  Oh, wouldn’t you like to try.
> 
> **Maya:**  I’m not doing it. I’m not.
> 
> **Shawn:** Then fail, Hart! Fail, and forfeit your chance to go the fall showcase. Or, you know, graduate. See if I care!

Tough love, but a valid point. After a tense silence, Maya begrudgingly agrees. Farkle does too, but only with the knowledge that at least he’s getting paid to be a student tutor and having Maya owe him something is a tempting prospect. Maya groans, storming away from the situation while she can still avoid it.

Riley immediately begins prepping her audition piece in her head. She’s not going to let this chance slip away so easily. She chases Shawn out after class.

**INT. AAA - HALLWAY - DAY**

Riley catches up to an exhausted Uncle Shawn, asking him if he thinks she should audition for the fall showcase. She knows she’s still got a reputation as a new kid, but she really does want to prove that she belongs here and she’s willing to put in the effort to represent them well. Shawn is only half-listening, but he encourages her regardless.

Filled with anticipation at finally having her shot, Riley heads the other way.

**INT. AAA - LIBRARY - DAY**

Maya and Farkle meet on neutral ground for their first round of tutoring. In the background, Asher attempts to tutor Dylan, who continually distracts them both or starts poking at his boyfriend and derailing their studying. Still, they’re better off than the divas.

Maya is reluctant to take any advice or help from Farkle, which sort of makes tutoring… impossible. Farkle, on the other hand, has little patience and is frustrated that she doesn’t immediately understand something when he explains it, exacerbated by their already inherent disdain towards each other. Their tension escalates into a full-on shouting match in the library, startling the assembled students and forcing the librarian to force them both out. It also earns them both a lunch detention.

> **Dylan:**  You thought I was bad? That could’ve been us. Aren’t you happy?
> 
> **Asher:**  Please just complete the proof. We’ve been working on this for forty minutes.

**INT. AAA - BLACK BOX THEATER - DAY**

Maya and Farkle are assembled for lunch detention, seated with about five seats between them and refusing to look at each other. Eric is organizing lunch detention, essentially begging them to stop making this process so difficult and to just realize they have a lot they could learn from one another. They might even be friends, to which both of them scoff. Neither student budges, so Eric moves forward with his assignment.

They will be writing letters to their parents, explaining exactly what happened and why they’re in detention. They won’t send them, obviously, but it’s an exercise to make them think about how it might feel to have to say such a dumb reason for ending up in detention to people who would be disappointed to hear it.

He finishes handing them the papers, before we pan to Lucas seated in the back of the room. He’s comfortably slouched in one of the back desks, feet up, and it’s clear – he’s spent plenty a lunch period in this room. Eric doesn’t bother handing him a sheet.

> **Eric:**  Lucas… just, don’t break anything.
> 
> **Lucas:**  (:

* * *

**Song Cue ♫ ♪ “What Is This Feeling?” as performed by Wicked Original Broadway Cast || Performed by Farkle Minkus & Maya Hart (feat. AAA Sophomores)**

The letter writing prompts the opening speeches of this classic rival number, Farkle taking on his self-proclaimed rightful role of Elphaba while Maya takes the Glinda parts. The number begins in the classroom, the two of them escalating into song as they get overwhelmed with how much they resent one another.

From the background, Lucas’s expression is basically like “really? Even in DETENTION?” As they really get into singing, he rolls his eyes and slams his head down on the desk.

**INT. AAA - HALLWAY - DAY**

As the other classmates jump into the song, lunch ending allows Maya and Farkle to be released back into the school. Maya clearly has the favor of the rest of the students on her side, and it’s clear that she’s the school favorite. Farkle truly is the Elphaba in this case.

As the song comes to a close, the “boo!” at the end actually belongs to Lucas. He’s passing Farkle at his locker, but takes the moment to double back and freak out the spastic diva just because it’s fun and he’s an easy target. Farkle, miffed, slams his locker door shut.

* * *

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Over the Rainbow” as performed by Judy Garland || Performed by Riley Matthews**

Riley performs her audition for the showcase spot, a sweet and soft rendition of “Over the Rainbow.” No grand fanfare, just her seated on a stool and singing like she did with her song in the pilot. It’s beautiful as always, but again, doesn’t seem to quite capture the full power and potential that Riley has inside her. Inoffensive, but… where’s the  _feeling_?

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Lucas, for example, is up in the booth working the lights and he’s lowkey falling asleep. Like, she’s got a beautiful voice and he’s like okay she’s pretty this I know… but would she…  _do_  something? Great question, Lucas. This is what happens when you stomp down all your emotions to constantly placate other people.

* * *

**INT. AAA - AUDITORIUM - DAY**

Riley finishes, Angela thanking her for a lovely performance. After the class disperses, Angela checks in with Maya to see how tutoring is going. Maya admits it sucks, and she isn’t going to go to it anymore. Angela pushes back, pointing out that she’s forfeiting her chance to go to the fall showcase and her very presence at the school is at risk.

Pressured, Maya snaps and is like well you have sweet little Honey Riley now, don’t you? She slinks away before Angela can formulate a response.

**INT. MINKUS HOME - DAY**

* * *

**Song Cue ♫ ♪ “Over the Rainbow” as performed by Bjarne E. Nelson || Performed by Farkle Minkus**

Maya and Farkle have abandoned their tutoring, so Farkle is left alone. He’s playing “Over the Rainbow” on piano, clearly demonstrating and passion and skill for the instrument. There’s something very moving about the performance, the emotion with which Farkle plays. It’s more vulnerable, real perhaps, than any other performance he’s given so far. Than he lets anyone else ever see up close at school.

* * *

His peace is interrupted when his mother returns home with his two younger brothers, disrupting the practice time. He’s bombarded by his littlest brother, EZRA MINKUS, who asks for help on his math homework. It’s clear that Ezra idolizes Farkle, even if he doesn’t recognize it. He agrees to help, gesturing for Ezra to go grab his things and get set up in the living room.

In the conversation that ensues between Farkle and JENNIFER MINKUS, the sense is clear that Farkle does not really have a creative outlet at home. Everything is very academia and intellectual and not about that performing arts life. Somehow, he works to keep those two very separate for the sake of making his parents’ lives easier… even if it’s not so fulfilling for him.

**INT. AAA - BLACK BOX THEATER - DAY**

Charlie and Zay have reign of the black box, seated at desks across from one another while they have their tutoring session. The session is relatively calm and quiet, the two of them keeping things very surface-level and professional. It’s clear that Charlie  _wants_  to say something more, but can’t find the right moment or even the right words.

Zay finally convinces him that they’ve earned a snack break. After Charlie comments that he’s clearly very smart and hardly needs his tutelage, really, Zay reveals that he has dyslexia. Charlie claims he had no idea, and Zay goes on to explain that it makes dancing more difficult too. It’s a lot to share with just an acquaintance, and Charlie is humbled by the honesty. It provokes him to say what’s been on his mind this whole time.

> **Charlie:**  I really admire you. You know that?
> 
> **Zay, scoffing:** Perfect Prince Charming Charlie Gardner, admiring me? Yeah, right.
> 
> **Charlie:**  I mean it. You’ve got killer pipes, for starters. And you dance circles around all of us.  _[ in total awe ]_  But more so it’s just like… you are so exactly who you are.
> 
> **Zay:**  Thanks?
> 
> **Charlie:**  I just mean that… you know who you are. And the way that you just…  _do_  things. Unapologetically. Because you want to. That’s so cool, man. I have no idea how to do that.

Zay finds this notion sort of silly, but it’s clear that Charlie is 100% serious. He ventures the topic further, intrigued by his seemingly bland existence.

> **Zay:**  When was the last time you did something just because you wanted to?
> 
> **Charlie:** I don’t know… I don’t go looking for trouble.
> 
> **Zay:**  Who taught you that having fun was trouble?

Seeing that Charlie maybe has something to learn from him, too, Zay blows off studying for the rest of the afternoon. No, they’re done studying. It’s time to take a lesson in another facet of life. It’s time to have a little fun.

* * *

**Song Cue ♫ ♪ “Schoolin’ Life” as performed by Beyonce || Performed by Zay Babineaux & Charlie Gardner**

Zay kicks off the bopping duet, managing to pull Charlie into it halfway through as far as dancing. The two of them dance around the classroom, jumping onto desks and goofing off. Just totally letting go, forgoing responsibilities, and doing what they’re good at. It’s loose, fun.

It’s clear that Charlie is having the time of his life.

* * *

**INT. AAA - SHAWN’S OFFICE - DAY**

A cramped and disorganized crawl space of an office. Angela drops by unexpectedly, causing Shawn to pour coffee on himself in surprise. She immediately goes to help him, grabbing some tissues and starting to reach over and dab his shirt himself… before remembering they aren’t like that anymore and handing them to him instead.

As he cleans himself and questions what she’s doing deeming him worthy of her presence. She ignores his sarcasm, claiming that she needs help with Maya. She wants to help her, and is genuinely worried about her prospects, but can’t seem to get a word in edgewise and doesn’t know how to handle her bouts of anger. She never has been great with that.

Shawn, on the other hand, deals with troubled kids all the time and happened to be one himself. Is still one, if Angela’s comments to him last episode are any indication. Shawn actually empathizes with the situation, commenting that the amount of genuine care Angela has towards Maya is a great first step, but she probably isn’t accustomed to accepting it.

Unfortunately, there’s not much she can do but be there if needed and let Maya come to her own choices on her own time. With stubborn personalities like that, sometimes that’s all you can do. This insight seems to serve Angela’s perception of both Maya  _and_  Shawn, and the tension between them softens a little bit. Even if they disagree, it’s evident they both genuinely care about the students in their care.

**INT. AAA - JACK’S OFFICE - DAY**

Maya is officially meeting with Principal Hunter to discuss her academics. He warns her that if she doesn’t turn it around, she will be put on serious probation and may lose her scholarship. Maya cracks and begs him not to, and that she can’t tell her mother this because it would break her heart. Jack’s hands are tied, though, and he looks to Maya to take the situation more seriously or else pay the price. Maya, wounded, absorbs this ultimatum.

**INT. AAA - ERIC’S OFFICE - DAY**

Farkle approaches Eric’s classroom in pursuit of formally cutting ties with his tutoring arrangement with Maya, but he stops when he overhears his conversation. Eric is talking with Cory, discussing what is going to happen with Maya. This is the first that Farkle has heard of her being on scholarship, and the first moment he’s had to face the reality that if she doesn’t get her shit together, she may actually leave the school.

He’s shell-shocked. In a rush of adrenaline, he reaches out to Maya again and gives her a location for tutoring. Putting the ball back in her court, if she opts to show up.

**INT. MATTHEWS APARTMENT - NIGHT**

Riley is helping Topanga cook dinner, sort of lost in her own head. When Topanga prompts her, she admits that she took the leap and auditioned for this opportunity at AAA, and given the current climate of her competition she thinks she may actually get it. Topanga is happy for her, giving her a hug and commending her for taking the bull by the horns and making a bold choice.

When Riley attempts to get more of a read on what’s going on with her parents, Topanga changes the subject. When she tries to push it again, Topanga takes on a warning tone and Riley reverts back into her usual submissive, placating role. It’s clear where she takes on that persona, having learned it early in life. The subject is dropped for now.

**INT. AAA - AUDITORIUM - DAY**

The techies are up in their usual seats, Isadora painstakingly attempting to tutor Dave.

> **Isadora:**  This is elementary level stuff we’re talking about here. How did you get to 10th grade. I don’t understand.
> 
> **Dave:** I don’t know, they tell me where to go and I go there. It’s amazing I got to school this morning. Sometimes you just gotta go with it.
> 
> **Isadora:**  Did you stick a fork in the toaster when you were little, or what?

Lucas smirks, enjoying listening in on their tutoring session. Dylan and Asher arrive, asking the group of them if they’ve seen the AAAC this morning. The techies typically don’t follow it except for Dave and Asher, but Dave’s been banned from social media while Isadora attempts to save his remaining brain cells.

Dylan shares that they posted some vaguely interesting post about how well Charlie and Zay’s tutoring has been going, with a picture of the two of them sitting close while studying. No one seems particularly moved by this, but as for the subject of the post himself…

**INT. AAA - HALLWAY - DAY**

Charlie is looking more frazzled than usual, keeping his head down. He nearly jumps out of his skin when Zay appears next to him, holding up a test with a “B-” written in red ink on the front.

> **Zay:**  I mean, I think I deserve an A for effort, but no use in fighting the system.
> 
> **Charlie, distantly:**  Ha ha, yeah.

Charlie is already walking away from him, Zay surprised by the curt dismissal. Wasn’t he just all over their whole little tutoring session. When he tries to catch up to him, Charlie brushes him off and claims he really just has to get to class. Although they weren’t exactly close to begin with, Zay is thrown by how abrupt the shift in their dynamic was. He backs off, heading down the hall on his own again.

**INT. AAA - PRACTICE ROOM - DAY**

Farkle is in the room he sent Maya, waiting around to see if she’s going to show up. He’s attempting to sound out a song by ear, playing tentative notes on the piano. He hums them to himself, trying to find the right starting note. As she enters, Maya finds it for him.

> **Maya:**  No, that one. The one you just played. Do that one again.

Farkle goes along with it, playing the note he just pressed. Maya hums along with it, both of them finding the right notes.

* * *

**Song Cue ♫ ♪ “Don’t Stop Me Now” as performed by Queen || Performed by Maya Hart & Farkle Minkus**

The two launch into an upbeat and jaunty duet of the classic rocker, Maya putting her all into the song as in some ways she fears it might be her last. It’s unpolished, not as glitzy as either of them usually operate in, but there’s something distinctly refreshing about it.

It’s clear that this is the most fun Farkle has had in weeks.  _This_  is where he gets his creative outlet, even in the spats with his greatest rival. In fact, especially with her. She may drive him crazy and she may be obnoxious, but she pushes him to be better. He’s not sure he’s ready to know what AAA would be like without her yet.

* * *

Maya awkwardly thanks for Farkle for reaching out, and he’s like don’t thank me yet. We still have to actually fix your grades. They reach a temporary truce, getting down to business.

**INT. AAA - HALLWAY - DAY**

Riley jogs into school with vigor that Friday, excited to hear about who will be going to the fall showcase. She runs into Angela and Shawn just as they are emerging from the black box with Maya, clutching a new report card in her hands. As Riley catches up to their conversation, she quickly learns that Maya managed to get her grades back up and is out of the red.

Thusly, even though Riley actually auditioned and went through the effort, Maya will be the one attending the fall showcase perform and representing AAA. Theater teachers always have their favorites, after all.

* * *

**Song Cue ♫ ♪ “Rose’s Turn” as performed by Glee Cast || Performed by Riley Matthews**

Stunned, Riley watches as Maya heads down the hall between Shawn and Angela, leaving her in the dust. Like she never auditioned, like she wasn’t ever there. And was she, really? Finding it harder and harder to hold back her emotions, Riley begins a march down the hall until she’s jogging through the other students, making a mad dash for the auditorium.

**INT. AAA - AUDITORIUM - DAY**

Riley continues her angered performance on the stage, seemingly alone. All of the unfairness and struggle she’s had since the beginning of the school year is spilling out of her, translating into the most impassioned and impressive performance we’ve seen from her yet. She rails into it, and it’s like YES! THIS is the talent Miss Matthews has been hiding away the entire time.

INT. AAA - TECHNICIAN’S BOOTH - DAY

That’s exactly what Lucas thinks, who happens to be in the booth at the time (because, honestly, he always is). As she’s performing he pops his head up from behind the lighting board, obviously shocked to hear someone else singing that isn’t one of the divas.

As he squints out the window towards the stage and watches her pop the fuck off, he’s lowkey entranced. Like, yeah.  _That’s_  a performance, alright.

* * *

**INT. AAA - AUDITORIUM - DAY**

As Riley finishes the number, out of breath and overwhelmed emotionally, she’s scared out of her wits when someone starts  _applauding_  out in the audience. She jumps, whipping around and squinting through the stage lights to see who was eavesdropping.

Lucas is making his way down the steps from the booth, still clapping. The applause is somewhat sarcastic, because well, he’s Lucas, but they’re also genuine. It was a good performance. Riley just seems to be stuck on the fact that someone was listening to her belt like that at all.

> **Lucas:**  Bra –  _[ hopping down the last step ]_  vo.
> 
> **Riley, defensive:**  Are you like, ALWAYS up there, or what?

Lucas approaches the edge of the stage, commentating on how that’s the most impressive thing she’s done since she got to this school. Forget keeping up, that’s what he’s been waiting to see this entire time. She finally actually brought it.

Riley, too frazzled to be scared of him, actually listens to this. She spoke freely, sung freely, and no one hated it. No one told her to drop it. In fact, someone – a hard-to-please someone, at that – seems to have actually enjoyed it. That’s a lot to absorb all at once.

> **Lucas:**  Whoever it was that was singing just now, up there? That sounds like the real you. _That_  sounds like someone worth knowing.

Lucas walks away, leaving Riley to hang on that sentiment and ponder everything that’s happened in the last few months since she got to AAA. Maybe it’s not enough just to keep up. Maybe it’s time for her to make bolder choices.

Maybe this is the moment where things really start to change.

_END OF EPISODE._


	6. Special Snowflakes [ 1.04 ]

**Summary for the Chapter:**

> BABY, IT’S COLD OUTSIDE – The performers hustle to make a statement at the annual winter showcase. Hoping to bridge the divide, Riley endeavors to make friends with the techies. But getting in good with Isadora and Lucas may ask more than she can handle.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://t.umblr.com/redirect?z=https%3A%2F%2Fopen.spotify.com%2Fuser%2Fauthorisasauthordoes%2Fplaylist%2F5R7px9cVwMaSFJQj8osIur%3Fsi%3Dg5BG-Hr4Qyq7OgiTZ0GmpA&t=MjAzZjM3YTQ5MWE0MmZmOWNiYzU4ZTFmYWY1MmM5NzUxYzE4MDU5ZCxGalRsZERMWQ%3D%3D&b=t%3AkDXCOjdyQYrhnuEmlkaYMA&p=https%3A%2F%2Ffriarlucas.tumblr.com%2Fpost%2F184556316482%2Fambition-season-1-first-impressions-pilot&m=1)! )

**INT. AAA - HALLWAY - DAY**

The holiday season is upon us at AAA! Spirits are high and the students are chipper as they wander the halls in their best sweaters. Small gifts are exchanged, books are haphazardly thrown into lockers. Temporary academic freedom is soon upon them!

On the wall outside the black box theater, focus is drawn to one poster in particular. It’s an advertisement for the annual winter showcase, a four-night event in which each class gets to show off their stuff after a busy semester of honing their craft.

**INT. AAA - BLACK BOX THEATER - DAY**

Inside the classroom, all our usual favorite performers are assembled to discuss the event. CHARLIE GARDNER is back with his usual harem of girls, a safe distance from his former tutee. In the corner, FARKLE MINKUS searches Hanukkah gifts for his family, working through a lengthy list. This is the week where performance slots are divvied up, and all of them are eagerly chattering about who is going to get the closing number. RILEY MATTHEWS, naturally, doesn’t see what all the fuss is about, questioning it as YINDRA AMINO stands behind her and braids her hair.

> **Riley:**  Don’t we do a group closing number? What’s the big deal?
> 
> **Farkle:**  Haven’t you been here for like months already? How are you still not caught up on how things work around here?

ZAY BABINEAUX, seated up on one of the desks nonchalantly, pays Riley the courtesy of explaining why it’s such a big deal who gets placed where.

> **Zay:**  It’s the standard rules of performance memorability. You either want to open or close: if you go first, everyone else will be subconsciously compared to you throughout the duration of the show. If you go last, though, you’re freshest in the audience’s mind and are able to essentially blow everyone else out of the water.
> 
> **Maya:**  Which, as we all know, is my calling card. So it would be an honor to do so this year, thank you very much.

Farkle disputes this, claiming the closing spot is his to behold. Yindra leans over and points out to Riley that this bantering is the exact reason they all have to audition and get placed in a specific order, rather than just volunteering for placements. Riley raises her eyebrows, still not totally on the same page as her more ambitious classmates.

Zay declares that they’re both wrong, he’s got it in the bag. When Maya and Farkle express skepticism, Zay hops off the desk and steps up to the plate to prove his point.

* * *

**Song Cue ♫ ♪ “Santa Tell Me” as performed by Ariana Grande || Performed by Zay Babineaux (feat. AAA Sophomores)**

Zay kicks off this upbeat and dance-worthy Christmas contemporary, loose and playful with it. He sings around each of his classmates in the classroom, concluding with Riley and giving her an affectionate tap on the nose, before leading the brigade out into the halls.

**INT. AAA - HALLWAY - DAY**

The sophomore class takes to the halls, following Zay and his pop hit and collecting fellow students along the way. It’s refreshing to watch a number in which everyone involved is just having fun, and everyone is actually participating.

JACK HUNTER  spots them from down the hall, conversing with CORY MATTHEWS. But it’s the holidays, and he just wants the week to be over, so he doesn’t bother to reprimand them for dancing in the hallways. They make their way to the auditorium.

**INT. AAA - AUDITORIUM - DAY**

The performers enter the theater and disrupt the quiet that the techies were enjoying, LUCAS FRIAR, ISADORA DE LA CRUZ, and the others conversing at the center of the stage. As they get closer Lucas makes a quick exit, hopping off the stage and disappearing before he gets inevitably pulled into the chaos.

DAVE WILLIAMS, DYLAN ORLANDO, ASHER GARCIA, and NATE MARTINEZ aren’t so lucky, but it’s honestly not a problem. The holidays allow for momentary truces, and they join into the fun and energy of the number as the full assembly claps and dances together to the conclusion of the song. Shawn and Angela enter together as Zay is showing off some impressive vocal runs, more so surprised by how everyone actually seems to be getting along for a second.

* * *

As the number comes to its end, Angela commends Zay for such an impassioned performance. On the flip side, Shawn shuts it down with a swift “NO ARIANA” for the showcase. They’re going for  _classic_ , he states. Zay is offended. Maya and Farkle are like ha ha.

**_Cue title sequence._ **

**INT. AAA - ERIC’S OFFICE - DAY**

Riley has a new initiative in mind as far as leaving her mark on the school. Clearly, this performing thing is rigged and stacked against her, so performing is not going to be how she wins people over. But she’s been more attune to the cultural divide than anyone else considering she’s not so deeply entrenched it, and she can’t get her mind off it – especially considering the kindness Isadora extended to her and the weird conversation she had with Lucas.

So her mind is made up. She is going to befriend the techies and bridge the divide.

To do this, however, she knows she will need help. So she goes to her uncle Eric and essentially lays out her grand plan. She’ll befriend the techies, and hopefully doing so will allow her to find the key to bringing the school back together.

> **Eric:**  I do support this notion, but I have to warn you it’s not going to be easy. Grander men than you have tried.
> 
> **Riley:**  Well, maybe it doesn’t take a man. Maybe it takes a scrappy, plucky gal with cute brown eyes and… questionable hand-eye coordination.

Eric can’t help but smile at that one. Riley continues, explaining that she’s already had good moments with a good number of the techies one-on-one, and she really believes she could make something happen. But she needs to know any relevant information about them going in, so she wonders if Eric has another history lesson up his sleeve about the tight-knit cohort. She requests any pertinent information she should know about them going into this, deeper than the brief overview we got in the pilot.

Eric agrees, giving her a little more on each of them by flipping through the yearbook again and finding their photos. As he points to each of them, he gives us a little more about each of them. It’s the first verbal establishment that Dylan & Asher are a couple (and basically inseparable), first hints that Isadora isn’t neurotypical, and some silly commentary on how Dave is just… a special human being.

When Eric begins detailing Lucas’s misbehavior and track record with the school, Riley ventures the question of what Eric really thinks about him.

> **Eric:**  And all that was just last month.
> 
> **Riley:**  So, what? Do you think that’s all he is? Is he a lost cause?
> 
> **Eric:**  No. No, I don’t think anybody is. But it’s difficult to figure out just how much good there is inside a person when they won’t meet you at the same level.

Riley absorbs this, her wheels turning once again. Finally, it’s time for her to do what she’s always done best – meddle.

Angela appears in the doorway, asking if Eric is ready to go. When Riley questions what is going on, Eric explains that he is stepping is as an impartial guest judge to help figure out what the order of the winter showcase performances should be. Riley once again is impressed by how intense all of this stuff is around here.

When Angela asks if she has any special requests for them to take into consideration as far as her placement, Riley waves her off. She’s not going to add any more trouble to the situation, and she’s got bigger fish to fry. Riley glances at the open yearbook one last time, looking at the photo taken of the sophomore techies.

**INT. AAA - HALLWAY - DAY**

Riley catches up to Isadora on their way to the auditorium, approaching cautiously and waiting for verbal acknowledgement before she approaches. She wonders if it would be alright for her to join her at lunch that afternoon, a request that surprises Isadora. She’s inherently distrustful, trying to find the ulterior motive at play.

> **Isadora:**  What, bored with your starlit classmates already? Really have to slum it already?
> 
> **Riley:**  No, no. No, not slumming. No, I just – you were really nice to me the other day.
> 
> **Isadora:**  I gave you a paper towel.
> 
> **Riley:**  And a paper towel was exactly what I needed! It would be an honor to repay the kindness and join you for lunch. Not that I’m – not that me hanging out with you is a kindness. I’m not saying… I only mean –
> 
> **Isadora:**  We eat at the corner table. If you’re truly that desperate.

Isadora opens the door to the auditorium, disappearing inside. Riley does a little dance to herself, before catching the door and jogging in after her.

**INT. AAA - AUDITORIUM - DAY**

Angela, Shawn, and Eric have taken seats in the center section of the auditorium, the remainder of the class scattered in front and behind them. Up on stage, Maya, Zay, and Farkle stand waiting for permission to begin – the only three that desperate to scrap for the closing slot. When Maya makes such a commentary about how they must be the only three that care enough, Yindra fires back with the sentiment that it’s more like there’s no point in trying because they have a mysterious way of always getting what they want.

Angela asks if they all understand how this audition will work and have had enough time to study the song. All of them scoff, expressing varying levels of confidence and cockiness.

> **Zay:**  Please. I could do this number in my sleep.
> 
> **Farkle:** I only got the sheet music this morning and I’m still certain I can sing circles around the rest of these dumb-dumbs.
> 
> **Maya:** Can we just put our money where our mouths are already? Standing so close to mediocrity is making my mascara run.

Eric gives Angela a nod, gesturing for the three of them to begin. They take their places, the three of them lined up and facing away from the audience.

* * *

**Song Cue ♫ ♪ “Rockin’ Around the Christmas Tree” as performed by Brenda Lee || Performed by Zay Babineaux, Maya Hart, and Farkle Minkus**

The three divas split up the lines, taking turns spinning around and launching into the song. Although the track is relatively innocuous and certainly not a diva number, they somehow manage to turn it into one. While performing choreography together, they’ve got their full wattage smiles on but are also lowkey elbowing one another and working to stand in the front the most. It’s well-performed and honestly so humorous to watch.

* * *

As they finish the number they strike a pose, the three of them close together and out of breath and grinning through their teeth. But they also sneak a few choice words in to each other, smiles unmoving.

> **Farkle:**  I’ll eat both of you alive.
> 
> **Maya:** You say that as if you could beat me in a fight and I wouldn’t easily break your twigs-for-arms.
> 
> **Zay:**  I’m seriously going to vomit all over you and your designer shoes.

Charming! We love a trio of polished performing divas ready to tear each other to shreds.

**INT. AAA - CAFETERIA - DAY**

The techies are seated at their usual table, the rest down the row while Lucas and Isadora take their usual spots across from one another at the end of the table. Life is proceeding as normal… until Riley floats towards them and plops down next to Isadora, commenting on how wild that diva performance was and launching into chatter.

Isadora isn’t fazed by her presence considering she knew it was coming, but Lucas is floored. He freezes with his fork halfway to his mouth, staring at Riley as she engages Isadora in conversation. It’s impossible to tell whether his reaction is negative or not, but he’s definitely not breathing anymore. Isadora snaps him out of his shock.

> **Isadora:** Lucas, did you forget how to use your limbs? Either eat it or don’t.

Lucas clears his throat, dropping his fork. Riley can’t help but smirk a little bit, sort of reveling in the feeling of having the upper hand. Isadora raises her eyebrows at his weird behavior.

> **Isadora:**  What? You act like you’ve never seen another human being before. You know Riley. What, do you need me to introduce you two?
> 
> **Lucas:**  No, yeah, I know her. I just didn’t… realize she would be joining us.

Riley meets his gaze, not allowing herself to be intimidated. She offers him a smile, waiting until Isadora is done talking to take the reins of the conversation again.

When she asks about their holiday plans, Isadora mentions the small party that the techies are throwing. It’s a tradition they’re attempting to start off after a successful run last year, and they’re already eager to start prepping for it. At this suggestion, Riley  _lights_  up. She fancies herself a bit of a party planner, and offers her services in helping them plan the festivities.

Essentially, she inserts herself into the techie party plans, and Isadora and Lucas don’t care enough or still don’t know how to react properly enough to refuse, respectively. So they’re like sure… fine. You can help. Riley has found her in.

**INT. AAA - AUDITORIUM - DAY**

After deliberating and based on an inscrutable variety of criteria, Eric has the honor of announcing that the closing slot will be going to Maya this year. Everyone is like woo, big surprise. Angela also informs them that the remainder of their slots will be posted on the wall outside the black box, before Maya jumps up and interrupts the news bulletin.

> **Maya:** Thank you, Miss Moore and Mister Matthews. It truly is an honor to have been chosen.
> 
> **Zay:**  No one asked for a speech!
> 
> **Maya:** Now, I know that my selection may be a bit of a bummer to some of my less talented but equally driven classmates. Fear not, hopefuls, because as it turns out my closing number may just need a dance partner. Thus, I’ll be holding auditions to see who can actually keep up with me.

This actually intrigues them. Then, she turns to NIGEL CHEY, pointing at him and gesturing him towards her.

> **Maya:**  Chey, front and center. I’ve got a proposition for you.

The class departs, buzzing with this new opportunity. Eventually they all shuffle out, and soon enough it’s just Angela and Shawn remaining. They take to cleaning up the auditorium in silence like they usually do, but in the spirit of the season Angela decides that maybe she’ll broach a conversation. She asks him what his holiday plans are.

Shawn is gruff in his response, stating he has none and that he’s always hated this time of year. Angela is like “well, with that attitude,” but Shawn goes on to point out that he hasn’t had anything to celebrate since like the early 2000s, so what does she expect from him? Considering part of that lack of cheer is her fault, Angela is a little stung by the guilt she suddenly feels.

Still, she’s not just going to let this drop. She states that he shouldn’t spend the holidays alone. It’s not right. He shrugs her off, but there’s a seed planted there. Wonder what it will harvest…

**INT. AAA - CLASSROOM - DAY**

Riley joins Isadora after school to help Dave and JADE BEAMON make decorations for their party. They’re all homemade, and as they work together Riley gets to learn more about the two of them. Most importantly, she learns that Jade is a  _wicked_  talented costumer and basically single-handedly makes most of what they perform in during class. Riley is stunned to learn this, and it’s clear that she is  _fiercely_  underappreciated by the performers.

Dave asks if Riley is going to come to their party this year. Riley isn’t sure how to answer, but Isadora steps in and basically claims it’s up in the air, “as people say”. This isn’t a flat no, so Riley will take it.

**INT. AAA - DANCE STUDIO - DAY**

The class is assembled in one of the available studio classrooms, crammed up against the mirrors while Maya and Nigel stand front and center. Maya thanks them all for coming, before throwing focus to her potential three dance partners – Farkle, Zay, and Charlie. She also gives a special thanks to Nigel for agreeing to perform with her this afternoon, carrying his violin with him. Now, it’s time for the games to begin.

* * *

**Song Cue ♫ ♪ “You’re a Mean One, Mr. Grinch” as performed by Lindsey Sterling & Sabrina Carpenter || Performed by Maya Hart (feat. Zay Babineaux, Farkle Minkus, and Charlie Gardner)**

Nigel launches us into the auditions, playing his violin to the classic holiday tune with a vigor. While Maya is orchestrating all of the nonsense, Nigel is clearly the musical star of the number. Maya theatrically surveys the three boys, before pointing to Charlie and wiggling her finger at him. Come hither, auditionee #1!

Charlie and Maya dance together ballroom style while she launches into the song. Charlie is a great dancer, and they’re not a bad match. But she has other dance partners to test out, Farkle practically chomping at the bit to show his stuff. So when she wraps the first verse she spins Charlie away, moving onto the next one.

Farkle steps up next, the two of them continuing to waltz. On the lyrics “you’re a monster, Mr. Grinch,” Maya looks very pointedly at her partner and Farkle makes a snarky face in response. They continue their pas de deux as Nigel launches into his violin solo, Maya transferring to Zay halfway through and allowing herself to be swept away. She gives Farkle a sassy little wave. He rolls his eyes, waving the two of them off and marching back over to stand with Charlie.

Zay and Maya work effortlessly well as dance partners, evenly matched. They’re energetic, polished, and almost a given pair considering Zay is the best dancer in their class. Maya spins him away and back towards the other two, coming to stand in front of the three of them and surveying her options ( _“Now given the choice between the two of you, I’d take the…”_ ).

This is where the number turns on its head. Rather than making a choice, Maya opts for the “seasick crocodile” and dances away from all three of them. They stand there for a moment, bewildered and trying to figure out who she chose – Charlie nudges Zay and points indicatively to Farkle, seeing as he  _must_  be the seasick crocodile. Farkle holds his arms out, offended.

But no, none of them are the seasick crocodile, and none of them are going to be her dance partner. The whole thing was an elaborate ruse, and Maya will be taking to the stage for the closing number on her own. She dances around the rest of the number gleefully, dancing out of reach of the boys who try to stop her after they realize they’ve been duped.

As each of them approach her, she dodges and essentially knocks them to the floor.

> **Maya:**  The words that best describe you are STINK!  _[ Charlie hits the floor ]_ STANK!  _[ Zay hits the floor ]_ STUNK!  _[ Farkle falls and she steps over him delightedly. ]_

The class is in hysterics, no group enjoying this spectacle more than the techies. Lucas and Isadora are in stitches, leaning into each other and trying to stifle their laughter. Riley is just in shock, somewhat amused but also mortified on their behalf.

Maya finishes out the number with a flourish, dancing with Nigel as he continues to play. Zay doesn’t even bother to get back up, crashing onto the floor and flipping Maya the bird.

Maya ends with a cheeky little laugh, coming to Nigel’s side as he plays the last note on his violin. She leans up and kisses his cheek, hitting their final pose. She snapped!

* * *

As the kids are clearing out, Farkle grumbling to whoever will listen about how ridiculous this whole scenario was, Riley hangs back and waits for a moment with Charlie. She makes sure no one else is around before approaching him, telling him that she thought he made a great dance partner and didn’t deserve the ridicule. He waves her off, claiming it’s not that big a deal and worse could’ve happened.

Riley asks him if he would consider doing a duet together. She’s still got Lucas’s words rattling around in her brain about the real her, and she’s taking plenty of steps lately to be a little bolder. As she points out, just because they don’t have the closing number doesn’t mean they can’t vocally blow the roof off this place, so to speak. They don’t have to be divas to put on a dazzling performance, especially if they combine their efforts.

Charlie doesn’t need to be asked twice. Charmed and more than happy to comply, he agrees to a duet with Riley. Maybe a little too eagerly, all things considered.

**INT. MATTHEWS APARTMENT - DAY**

That afternoon after school, Christmas decorating is on! This is a normally coveted tradition in the Matthews household, but due to how on the rocks Cory and Topanga have been as of late, even the holiday spirit is dwindling a bit. Auggie doesn’t notice so much, but Riley is well aware of the chill that has settled in between her parents.

Thusly, it’s a relief when she gets a text notification from Isadora that they’re here for their next techie party errand. Riley informs her parents that she has to run, Cory only getting to question where she’s going for a moment before she’s out the door. He probably wouldn’t much prefer the answer anyway, so he should be grateful.

**INT. SUPERMARKET - DAY**

The next task for the techie party is in full swing – grocery shopping! Riley joins Isadora, Asher, and Dylan as they cruise through the store, stocking up on all needed supplies. That is to say, Riley and Isadora have the list and are doing all the work while Dylan pushes Asher around in the grocery cart and they keep adding extraneous, unnecessary items to the list.

> **Asher:**   _[ reaching for an obnoxiously sized jug of apple cider ]_ Oh, dude, we definitely need this. Isa, can we get this?
> 
> **Dylan:**  Yeah, Isa, we need to get the cider!
> 
> **Isadora:**  We already have our listed drinks, put that back. Would you stop picking up whatever is in arm’s reach? We’re not shopping with Rockefeller.

Riley utilizes the opportunity to be as helpful as possible, reaching for whatever Isadora states next from the list and keeping up conversation. She tries to get a little bit of dirt on the techies, mostly as to why they’re so grumpy and constantly at war with the performers.

> _**Asher:**  It’s really not that much of a mystery._
> 
> _**Dylan:**  Yeah, you’d be this way too if you were constantly ignored._
> 
> _**Isadora:**  Or put in a ton of effort just to see it get disrespected and disregarded._
> 
> _**Dylan:** The performers have no idea how much we do for them, and the teachers perpetuate it._
> 
> _**Asher:**  And they never say thank you._
> 
> _**Isadora:**  Do you have any idea what it’s like to have no one acknowledge all the hard work you do?_
> 
> _**Riley:**  Oh, I’ve got a hunch or two._

Dylan and Asher change the subject as they get to the candy aisle, reaching for a specific type of chocolate and claiming to Isadora that they  _have_  to get this. They have to, because it’s Lucas’s favorite and it is technically on the list. Technically. Please, Isa, pleeeeease?

> **Isadora:**  Alright, alright. Whatever. Gremlins.

Isadora off-handedly explains to Riley that Lucas never adds anything to the list and lets everyone else decide what food they’ll have but he only has one necessity – chocolate. There’s something slightly endearing and unexpected about that.

> **Riley:**  Yeah, I noticed he hasn’t exactly been around much on these party planning trips.
> 
> **Isadora:**   _[ defensively ]_  Well, he’s got a lot going on. But also, he’s got the most difficult job at the end of all this, so we don’t really push him to do much more.

Riley isn’t sure she wants to know what that means or entails. But Isadora has already moved past it, chastising Dylan and Asher for adding like five things to the cart that they didn’t account for and directing them towards checkout.

**INT. JACK’S APARTMENT - NIGHT**

Shawn is over at Jack’s house for dinner, a tradition that seems to be semi-regular between the two of them. Over the meal, the two of them are reminiscing about what Christmas used to be like back in the good old trailer park. This is where Jack’s reputation as a man who built himself from the ground up is truly reiterated, but he does not hold as much bitterness in his heart over it as his half-brother.

> **Shawn:**  Christmas was shit, don’t you remember? I mean, there was the year that dad gave us each a basket of used clothes from the thrift store, and he didn’t even wash them.
> 
> **Jack:**  Well, that’s what the laundry basket was for.
> 
> **Shawn:**  Or when he used to volunteer as Santa at the mall and we’d wake up on Christmas morning to him passed out, still in costume, on the floor in front of that scraggly piece of crap we called a tree.
> 
> **Jack:**  Oh, come on. I always liked hangover Santa.
> 
> **Shawn:**  Why is it such a big deal that I let the holidays back into my heart or whatever? This isn’t a Dr. Seuss book, my heart isn’t going to grow three sizes just because I elect to plan some stupid festivities for the break.

Jack isn’t sure what advice to give him, but he points out that it’s less about the holiday and more his heart. Like, he thinks Angela is just looking out for him in regards to getting out of the rut he’s been in for the last few years. Yeah, the holidays don’t mean much, but maybe they can be the first step. Shawn doesn’t look convinced, but it’s a thought…

**INT. AAA - BLACK BOX THEATER - DAY**

The sophomores are assembled before class, working on homework and other projects before the bell rings for lunch. Farkle declares to whoever will listen that he’s figured out the trick here, the reason Maya was selected over him. It’s because he’s Jewish.

> **Farkle:**  I mean, why would they give the closing slot in a largely commercially Christian dominated showcase to the Jew? It’s problematic, but not inherently surprising.

Zay rolls his eyes. He’s so tired. In any case, Farkle has decided that rather than complaining about the problem but not doing anything to remedy it, he is planning to write a Jewish holiday song of his own. Enough of this dreidel, dreidel crap. He’s going to dedicate his showcase slot to singing something truly Jewish… as soon as he writes it. That can’t possibly go wrong.

**INT. AAA - CAFETERIA - DAY**

Riley is with Lucas and Isadora at lunch again. She is keeping track of all their party preparation tasks in an agenda, and it’s clear that Lucas finds this amusing. Isadora admits that she’s been a lot of help so far, prompting the question yet again whether or not Riley will be invited to attend this shindig. They’re warming up to the idea, but there’s still hesitation. They just don’t know if Riley will be able to handle what it requires to be in attendance, that’s all.

> **Riley:**  Oh, I can handle it. Whatever it is, it’s handled. It’s not even a thing.
> 
> **Isadora:**  It’s more a matter of whether or not we think we can trust you.
> 
> **Riley:**  Well, okay then. Let’s prove it. Take me for a test drive.
> 
> _[ Lucas chokes on his water. Isadora gives him a look, and Riley of course never realizes when she says something potentially questionable. She’s got a knack for it. ]_

Isadora claims that before deciding any of that, they still have a couple of tasks to complete. Mainly, getting a Christmas tree. This surprises Riley, who is still in the dark about where this party is even taking place. Isadora clarifies they’re only looking for a small one, but won’t divulge more information than that.

Throughout the exchange, there’s a quip between Lucas and Isadora that hints at the fact that she’s autistic. Riley takes this information in stride.

> **Riley:**  Oh, you’re autistic?
> 
> **Lucas:**  Is that a problem?
> 
> **Riley:**  No, no, not at all. I just didn’t know. I’m a very huggy person, so let me know if that bothers you.
> 
> **Isadora:**  It does. Don’t hug me.
> 
> **Riley:**  Got it. No hugs for Isa. Make sure to tell me if I do anything like that subconsciously, okay? I don’t want to make you feel uncomfortable.

Isadora obviously appreciates this sentiment, and Lucas seems mildly impressed. He’s like wow, someone respecting my best friend  _and_  being generally considerate? In  _this_  school? That’s hot.

This all bodes well for Riley. She might just get her in with the techies yet.

**INT. MAYA’S APARTMENT - DAY**

Maya is hard at work going through lists of Christmas songs, narrowing down which song she’s going to do at the winter showcase. Her mother enters from her room, dressed in her uniform for work and in the midst of tying up her hair. Maya asks if she has a moment to help her narrow it down, Katy sliding into the seat across from her at their table.

> **Maya:**  I’m thinking “All I Want For Christmas Is You,” because you know, classic. But there’s a lot of potential in taking “It’s the Most Wonderful Time of the Year” and really amping it up from the lame low levels that Andy Williams kept it at.
> 
> **Katy:**  Both good options. But you know,  _[ reaching out and taking Maya’s hands across the table ]_  my favorite Christmas song was always “Have Yourself a Merry Little Christmas.” Don’t know why, it just always made me truly feel the holiday season.
> 
> **Maya:**  Yeah, it’s a great song. But it’s not going to blow everyone else out of the water.
> 
> **Katy:**  … does it have to?

Katy doesn’t get time to elaborate on the question, already going to be late for work. She leaps up and gives Maya a kiss on the top of the head before fluttering off. Maya absorbs this sentiment, clearly not prepared to get philosophical and change her whole way of thinking on such short notice. She looks back to her shortlist, dissatisfied.

**EXT. CHRISTMAS TREE FARM - DAY**

A light snow is falling as Isadora, Riley, and Lucas make their way through the rows and rows of fir trees. Isadora leads the charge while Lucas sort of lags behind, rattling off a very specific list of criteria to Riley and explaining her full-proof process of finding the perfect tree. She’s a tree expert, essentially, so really they should be in and out in no time. No waiting up! Isadora marches onward, clearly a woman on a mission.

Riley watches her go, glancing over her shoulder towards Lucas. She debates whether to say something, hesitating before striking up a conversation. It’s clear that Lucas isn’t nearly as scary as he comes off at school, but he also… really doesn’t know how to interact with people. Let alone Riley Matthews.

> **Riley:**  How about you?
> 
> **Lucas:**  Huh?
> 
> **Riley:**  Would you consider yourself a tree expert?
> 
> **Lucas:**  Oh, uh… no.

They’re side by side now, walking at the same pace. Riley explains that tree shopping is all part of the celebrations with her family, to which Lucas doesn’t have much to say ( **Lucas:**  Oh, we don’t celebrate. Much). But Riley’s a rambler, so she just starts nervously going on about what Christmas preparation at the Matthews entails.

Lucas is a little like oh so she’s still talking, okay. But he listens anyway, stuffing his hands in his pockets and torn between glancing at her and staring at the ground. She’s really hard to look at, for some reason. And snowflakes keep getting caught in her hair and her eyelashes…

> **Lucas:** _[ interrupting her ]_ You’ve got snow.
> 
> **Riley:**  I’m – I’m sorry?
> 
> **Lucas:**  Snow. It’s… you’ve got some on your –
> 
> _[ He gestures noncommittally to her face. Riley sort of reaches up, towards her eyes, and he gives her half a nod. ]_
> 
> **Riley:**  Oh. Oh.
> 
> _[ Riley works to wipe her eyes. Lucas glances away, sort of embarrassed for no reason. Feeling bashful is unfamiliar to him. ]_
> 
> **Lucas:**  Yeah, you got it.
> 
> **Riley:**   _[ After a moment. ]_  You’ve got some, too.
> 
> **Lucas:** Huh?
> 
> **Riley:**  Snow. Just there –
> 
> _[ Riley, not thinking, reaches up and almost goes to… what? Wipe at his eyes? But he backs away from her. ]_
> 
> **Lucas:**  I’ve got two hands.
> 
> **Riley:**  Oh, yeah. Right. For sure. Yeah.

Well. That could’ve been worse. Lucas wipes at his eyes while Riley looks away, pressing her lips together and trying not to overthink that whole awkward conversation.

Isadora saves them both, running back up to them and claiming that she’s found the perfect tree. Her excitement is palpable and totally divergent from the persona she puts off at school. As she darts away, Lucas jogging off, Riley looks after them. After a moment, she smiles, before following in their direction.

**INT. MINKUS HOME - NIGHT**

Farkle is up after dinner, surrounded by crumbled pieces of paper and struggling to finish his song. EZRA MINKUS comes over to bother him, questioning what the heck he’s doing. After Farkle explains his grand pursuit to right the wrongs done to their Jewish culture by the American Christmas commercial industry (which Ezra definitely doesn’t get), his brother begs him to sing the song for him. And so he does.

* * *

**Song Cue ♫ ♪ “Jewish Holiday Song (Original Composition)” || Performed by Farkle Minkus**

The number is well put-together but unpolished, and continues to reflect Farkle’s perfectionist nature and he continually interrupts himself and changes lyrics, rewriting as he goes. Ezra doesn’t care at all, totally enthralled and encouraging his performance.

The longer he has to just perform it, the more Farkle starts to loosen up and get into it. Halfway through he’s on his feet, at full energy levels, and Ezra jumps up to spin and dance around with him. Certainly more humanity and genuine love of the craft from Farkle than any of his classmates might ever see.

* * *

**INT. AAA - AUDITORIUM - DAY**

The sophomore class is assembled, spending their class time preparing the stage for the holiday break. Half the class is out in the front of the school, where the showcase will be held.

Most of the techies are gone setting up outside, but Lucas and Isadora are inside with Riley. They’re sitting at the bottom of their usual crop of seats up in front of the technician’s booth, Riley standing in front them but not quite yet allowed to cross the threshold. Behind them, Dylan and Asher are goofing off.

Riley sighs, watching them deconstruct the sets from the first semester. Although it’s been a special kind of hell, she claims she’s going to miss the auditorium over break. Isadora tells her she doesn’t have to say goodbye yet, which confuses her.

Lucas and Isadora exchange knowing looks, before she goes on to explain the final task of the party. Tonight, after the showcase when everyone has left, the techies are going to sneak back into the auditorium and have the party there. Riley is floored by this.

> **Riley:** You mean you’re going to sneak back in after hours. Like, break in. You’re going to break into the school.
> 
> **Isadora:**  We warned you. Figured you may not be able to handle –
> 
> **Riley:**  No, no, um. I’m not – and how exactly do you plan to do this?

A moment of silence. Riley looks between them before letting her gaze drift to Lucas, who is avoiding her gaze and smirking, twirling a pen in his fingers. Oh, right. Of course he’s going to break them in. Silly her.

Isadora states that Riley has been a big help and is more than welcome to come to the party – if she doesn’t rat them out. It freaks out every goody-two-shoes notion in her body, but she knows what she set out to accomplish this week. She squares her shoulders, ready to be bold. She claims she’ll be there and that she’s looking forward to it.

**EXT. AAA - FRONT ENTRANCE - NIGHT**

The night of showcase is here, audience members filing into the seats set up outside the school. The front of the building has been decorated for the holidays and lighting systems have been set up to allow for the top of the steps to act as a stage. It’s a pretty cool set up.

Most of the Minkus clan is searching for their seats, Ezra holding onto JENNIFER MINKUS’ hand as they make their way. He looks up towards the building and his face lights up, waving eagerly.

**INT. AAA - ATRIUM - NIGHT**

Farkle is looking out the doors, catching the eye of his brother. He sees him waving and lightly waves back, before the students are called together for pre-show circle.

Angela gives them all a rousing, energetic speech, telling them to close their first semester out with as much vim and vigor as possible. Everyone nods along, that holiday season acting as a powerful source of energy. With that, they put their hands in and countdown together, launching us into the showcase.

* * *

**Song Cue ♫ ♪ “Dance of the Sugar Plum Fairy” as performed by Pentatonix || Performed by AAA Sophomores**

**EXT. AAA - FRONT ENTRANCE - NIGHT**

A montage ensues of the first half of the showcase, all of our recurring characters performing their songs and numbers. Zay opens the showcase, although with what song we don’t know. He definitely performs it with less enthusiasm than Ariana, though.

Haley and Clarissa play their cellos. Chai, Sarah, and Darby do a trio song and dance, dressed in cute holiday outfits. Nigel plays his violin. When Farkle takes the stage to perform his Jewish song, the audience clearly loves it.

No more so than his family. Jennifer is all smiles, and Ezra is dancing along from his seat. Only one thing could dampen this moment – the absence of Farkle’s father, who hasn’t shown up. This stings a little bit, but Farkle knows he’s a busy, important man. He tries not to let it get to him, finishing the performance with a flourish and not letting it show on his face until he’s back safely behind the doors of AAA.

* * *

**INT. AAA - ATRIUM - NIGHT**

Riley is staring out at the assembled crowd, trying not to go back on her decision to be more bold. Shawn approaches her and asks if she’s nervous, which yeah she is, but in front of him it’s more because she’s planning to break into the school later tonight behind his back. She keeps it together, but barely. Shawn wishes her luck, patting her shoulder.

Charlie approaches her, raising his eyebrows and asking if she’s ready. Riley takes a deep breath, then nods. Together, she and Charlie step through the doors.

**EXT. AAA - FRONT ENTRANCE - NIGHT**

Charlie makes his way to the microphone first, Riley hanging off to the side to wait for her entrance. He gives her a smile. Maya comes up behind Riley, asking when the two of them decided they were going to do a duet together. Riley shrugs, claiming they’re just trying to put on the best show possible.

* * *

**Song Cue ♫ ♪ “The First Noel” as performed by Josh Groban & Faith Hill || Performed by Charlie Gardner & Riley Matthews**

And boy, do they keep to their word. Charlie and Riley sing well together, and their chosen duet is a powerhouse all its own. It gives Riley the chance to truly show off her vocal ability, keeping true to her conversation with Lucas and trying to share that level of passion with the rest of the world. She isn’t going to spend the rest of her time at AAA hiding in the background.

The divas are shocked, totally not expecting the new kid to end the semester by actually posing a  _challenge_. The techies look impressed, Dylan and Asher huddling together to exchange a whisper about it. But given the smiles on their faces, it’s nothing negative. Isadora seems impressed too, but when she looks to Lucas next to her, he doesn’t seem surprised at all.

* * *

Their performance is met with resounding applause. Riley sort of goes to nudge Charlie in congratulations, but he takes a step further and hugs her instead. Hey, it’s the holiday season. Riley hugs him back, grateful that he agreed to be her duet partner.

**INT. AAA - ATRIUM - NIGHT**

Maya is preparing for her closing number, doing vocal warm-ups and pacing to herself. Her phone ringing distracts her, and when she picks up it’s Katy on the other line. She explains that something has come up at work, and she’s going to have to close because the other waitress didn’t show, so she doesn’t know when she’s going to get there.

Maya is shattered by this, looking for alternatives, asking if someone else can, wondering if she’s going to make it at all. Katy apologizes profusely before explaining she has to go, quickly. She hangs up, Maya left side-swiped by this news. But the show must go on. Zay comes up to tell her it’s her turn to close the show, but he can immediately tell something is up with her. When he ventures the question, she puts her cool facade back together and claims everything is fine.

**EXT. AAA - FRONT ENTRANCE - NIGHT**

Maya runs up to the pianist first, whispering to him before taking her place at the microphone. She gives a little introduction to who she is and asks for one more round of applause to everyone else who has come before her – a classic diva courtesy. Then she explains what she’s about to perform.

> **Maya:**  I originally had a different planned for this evening. And I’m sure my classmates could’ve told you how in character it was for me. But um… someone really important recently asked me if everything had to be about the performance. And I thought the answer was yes, but I think tonight, I want it to be about something different. Tonight, it’s about her. But I hope you all enjoy.

* * *

**Song Cue ♫ ♪ “Have Yourself a Merry Little Christmas” as performed by Sabrina Carpenter || Performed by Maya Hart**

Maya launches into her mother’s favorite Christmas tune, starting off soft and sentimental. But of course, she is still Maya Hart, and as the song progresses she ramps up the vocals and totally kills it. Everyone is honestly surprised she didn’t go for the big blowout finale, but somehow this was just what they all needed. Somehow, this was exactly right.

* * *

As the showcase comes to an end, the full performing class assembles outside the school while Angela and Shawn take center stage at the microphones. The techies are standing off to the side, still sort of in the shadows but present. Angela thanks everyone for coming and for their continued support of their students at AAA, and then rouses the audience for one more round of applause.

Shawn is about to jump in but Angela beats him to it, encouraging a round of applause for the techies as well. The techies seem surprised by this, but everyone happily gives it. Riley is clapping very enthusiastically in the front row of the performers. Farkle and Maya look confused at the shout-out, sharing a look but clapping along anyway.

Then Angela invites them all to join in for one last number, passing the stage off to the students.

* * *

**Song Cue ♫ ♪ “Sleigh Ride” as performed by Pentatonix || Performed by AAA Sophomore Performers**

The true closing number to the showcase is upbeat, fun, and a true demonstration of their combined talent rather than how they always seem to be pitted against one another. Our often forgotten students – Yindra, Nigel, NICK YOGI, CLARISSA CRUZ, and CHAI FRESCO – take the solos.

At the last second, Katy manages to make it and catch the final number. She slides into a seat in the back, meeting Maya’s eyes and giving her a big smile. Maya is… soft, grinning even wider as she performs.

Out of focus, the techies are dancing around and sort of mockingly singing along, so happy that another hell semester is done. Asher and Dylan each have an arm around Lucas, essentially forcing him to sway with them. Isadora isn’t being goofy, and she’s like… you’re all so stupid but you’re my crew so I guess it’s fine. So it’s endearing.

* * *

**EXT. AAA - NIGHT**

The clean-up has wrapped, another winter showcase come and gone. Maya and Zay are hanging around outside in their cutest winter attire, waving goodbye to Angela as she heads out and congratulates them on a great performance. Riley and Charlie exit the school together, Maya and Zay giving them an intrigued look as they approach.

Riley congratulates them all, Charlie approaching and giving Zay a nudge on the shoulder. Maya asks Riley if she’s coming to the after party at Chubbie’s – more out of curiosity than an invitation – and Riley stammers, explaining that she has other plans. But she won’t say what those other plans are, and kind of runs away before they can ask any more questions. Oh, Riles.

Farkle exits the building and comes down the steps, approaching the remaining three. He congratulates them all, as is courtesy, and Charlie commends him for his original song. It was a real crowd pleaser. Farkle tells Maya he thought she did a fantastic job with the closing number, and it’s genuine… even if she was a bit sharp. Maya lets this slide, thanking him for the compliment.

Farkle makes some subtle commentary about how he’s sure they’ll all have a great time at the diner… without him… totally nonchalant. Maya exchanges a look with Zay, before turning back to Farkle and being like “Farkle, would you like to come?” Farkle acts casual, brushing it off, but then he’s like “well if you INSIST.”

Maya shakes her head, leading the way down the street. Farkle is  _clearly_ excited, jogging to catch up. The four of them head out in their cute little winter coats and hats, we love them.

**EXT. AAA - BACK ENTRANCE - NIGHT**

Shawn makes his way to his car, the last one to leave. As soon as his car leaves the parking lot, Lucas pops his head out from behind the side of the building, followed by Isadora, then Riley. Riley asks if the coast is clear, to which Lucas lightly shushes her. The rest of the techies poke their heads around, showing that the full brigade is present. It’s break-in time.

As the opening score of  _Home Alone_  underscores, Lucas leads the skilled and effortless break-in for their after party. Riley is nervous, but she didn’t rat them out. She passed their tests. So when Lucas is holding open the auditorium doors for them to dart in and it gets to Riley… he doesn’t turn her away. She heads inside, Lucas glancing over his shoulder before shutting the door behind them.

**INT. SHAWN’S APARTMENT - NIGHT**

Shawn settles into the lonely and plaintive silence of winter break, dropping his bag and keys on the chair by the door with a pronounced thud. He sighs, making his way into the kitchen and hardly bothering to turn on the lights. That is, until a knock at the door disrupts his silence. He pokes his head around the corner, evidently not expecting anybody.

When he opens the door, Jack greets him cheerfully, holding food for a potluck and swooping his way inside. Before Shawn can object, Eric, Cory, and another half a dozen teachers flutter their way inside, giving him warm greetings and setting up stuff in the kitchen and living area.

Angela enters last, clearly having arranged the whole thing. Shawn is like what the hell is this – although with far less bite than his bark would have you believe – when Angela gives him an affectionate head tilt.

> **Angela:**  I told you. No one should be alone during the holidays.

There’s a moment where it’s unclear whether Shawn is going to accept this aggressive form of care or kick them all out… until he steps back to let Angela in fully. She smiles, entering as he closes the door behind them.

She actually isn’t done though, as she claims she has something for him. She pulls out a simple gift for him –  **a book of poems**  that alludes to one of the reasons they initially fell in love. Reparations, maybe?

> **Angela:**  I figured, if we’re working on your frozen heart, maybe a little more culture could help. You used to love these, after all.

Shawn is touched by the gift. He takes it tentatively, before lighting up with an idea of his own. He asks her to hold on, disappearing back into the small hallway that leads to his bedroom. When he returns, he’s clutching something in his hands rather than the poetry. It’s a beautiful artfully crafted seashell. It’s not wrapped, but it was definitely meant for her at some point.

> **Shawn:** I saw it at a flea market a couple years back when I was traveling, and couldn’t help but think… I don’t know why I actually got it. But it was always meant for you.

He holds it out for her, waiting for her to take it. Now  _that’s_  tea. Angela takes it tenderly, the two of them exchanging uncertain but soft smiles. Then, Angela nudges them to go mix and mingle with their co-workers. As “Jingle Bell Rock” floats in…

**INT. AAA - AUDITORIUM - NIGHT**

The techie party is in full swing, the music playing over the sound system considering they’re the ones who know how to run it. Their tiny tree has been set up center stage with a few chairs sprawled around it. The majority are seated around it, laughing and eating and exchanging small gifts with one another. Dylan is seated on the floor in front of Asher’s chair, a string of garland worn around his neck like a scarf. Jade is showing Jeff the quality of the colored pencils she got as a gift in her sketchbook. Isadora is finishing the final touches on the tree decorating, attempting to direct Dave.

Riley is standing a bit away, just absorbing the warmth and marveling at the family dynamic of these oddballs that seem so standoffish at first glance. It’s a wrong perception, that much she’s sure about. The practical king of this very sentiment, Lucas comes over to join her.

He asks her if she feels like a badass or not after her first little taste of danger. She admits that she does, but she’s far more entranced by the little tradition they’re attempting to establish here. Riley makes some soft commentary about their crew and how he’s clearly a major part of that… Lucas waves her off, but she insists that it’s true.

She says something else slightly flirtatious, giving him a smile before floating off to join the main group. It takes Lucas about three seconds to comprehend the fact that that conversation actually happened, during which Dave hisses to catch his attention. He and Jade point above Lucas, where mistletoe has been set up. He and Riley were standing underneath it the whole time and didn’t even realize it.

Lucas, weirdly bashful again and embarrassed, huffs and walks away. Dave and Jade are trying not to laugh, gesturing him towards them to rejoin the group. Thus, the techie celebration ends nice and cozy, warming all of our hearts. God bless us, everyone!

We’re going to need it.

_END OF EPISODE._


	7. Extra, Extra [ 1.05 ]

**Summary for the Chapter:**

> HEADLINERS – Isadora’s world crumbles when AAA Confessions shares a major secret. Lucas’s temper flares out of control. Rumors swirl around Charlie and his relationship with Riley.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://t.umblr.com/redirect?z=https%3A%2F%2Fopen.spotify.com%2Fuser%2Fauthorisasauthordoes%2Fplaylist%2F5R7px9cVwMaSFJQj8osIur%3Fsi%3Dg5BG-Hr4Qyq7OgiTZ0GmpA&t=MjAzZjM3YTQ5MWE0MmZmOWNiYzU4ZTFmYWY1MmM5NzUxYzE4MDU5ZCxGalRsZERMWQ%3D%3D&b=t%3AkDXCOjdyQYrhnuEmlkaYMA&p=https%3A%2F%2Ffriarlucas.tumblr.com%2Fpost%2F184556316482%2Fambition-season-1-first-impressions-pilot&m=1)! )

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Rumour Has It” as performed by Adele || Performed by Maya Hart (feat. Chai Fresco, Sarah Carlson, and Darby Winters)**

The episode kicks off with a broody and ballsy rendition of this flagship Adele track, MAYA HART leading while CHAI FRESCO, SARAH CARLSON, and DARBY WINTERS back her. Everything about the performance emanates trouble ahead – the shadowy lighting, the song choice, the urgency of the vocals. Yes, we’re back from winter break, and that warm and fuzzy holiday spirit isn’t going to survive long.

As the song unfolds, we get glimpses of everyone getting ready for school much like in the pilot. But our focus narrows in on a couple of students in particular.

**INT. RILEY’S BEDROOM - DAY**

At the Matthews apartment, Cory and Topanga’s arguing is growing more difficult to ignore, Riley electing to climb out the bay window rather than pass them to the front door.

**INT. FOSTER HOME - ISADORA’S ROOM - DAY**

ISADORA DE LA CRUZ is getting ready for the day, just pulling her hair back out of her face. Her phone lights up with a text message, seemingly from Asher. The message is simple:  **“did you see the confessions page??”**

Isadora frowns, obviously having no clue what he’s talking about. Even as she’s trying to open the Instagram app and search it, another message comes in at the top of her screen. This one is from Dylan (“Dyl Pickle,” as he’s known in all the techies’ phones):  **“omg y didn’t u tell us?????”**

Now Isadora is nervous. She waits impatiently for the page to load, scrolling past the latest post – one featuring Riley and Charlie – to find what they could possibly be talking about. When she sees it, her eyes widen and she reacts as though she’s been burned. She gasps, dropping her phone. Another message comes in, from Asher:  **“Isa???????”**

It’s evident that whatever is on that page, it’s mortifying to her. She can’t even bring herself to pick up her phone.

**INT. AAA - HALLWAY - DAY**

As people filter into the school building, students of all ages and stature are checking out the latest Instagram updates.

The post in question for Isadora features selfies of her and a rather glamorous woman, enjoying the Los Angeles sunshine in the midst of winter. This is VALERIE DE LA CRUZ (40s), one of the biggest pop singers out there right now. And as the posts from her Instagram suggest – taken and reposted on the AAA Confessions page – Isadora is her daughter. Isa is famous blood, the rogue talentless daughter of one of the greatest performers of a generation, and none of them even knew it. What a plot twist…

The other post featured that morning is a photo of Riley and Charlie, the submitter having captured the moment they hugged after their performance at the winter showcase. The caption essentially implies that the two might be forming much more than a musical partnership.

Isadora makes her way into the school, and already all eyes are on her. Whispering, passing judgment, trying to put the pieces together. How is that the daughter of one of their idols? She tries to avoid the stares, but it quickly becomes too much. She goes to hide in the girls bathroom.

**INT. AAA - GIRLS BATHROOM - DAY**

The moment she steps inside, she snaps at the two freshmen in there to get out. They listen, wise enough not to mess with her. Isadora fights a panic attack as Maya’s vocals come to a climax, Isadora ducking into the farthest bathroom stall. She can’t bring herself to calm down. She never wanted this to happen. No one was ever supposed to know.

Frustrated, she throws her phone at the wall. It shatters and slams to the floor, yanking us out of the number.

* * *

**_Cue title sequence._ **

**INT. AAA - AUDITORIUM - DAY**

The techies are assembled sans Isadora, frantically discussing the latest AAAC update. This is the first time a techie has been featured, so they’re all freaking out. ASHER GARCIA claims he tried to text Isadora to see if she was okay, but she didn’t answer.

LUCAS FRIAR emerges from the technician’s booth, all of them immediately jumping him with questions. Has he talked to Isadora? Has he seen the Instagram? What are they supposed to do? Lucas is like it’s way too fucking early for this, slow down, what’s going on? DAVE WILLIAMS pipes up first.

> **Dave:**  Well, for starters, the AAAC posted a very interesting bulletin that Prince Charming Charlie Gardner may have finally found his chosen princess in one Miss Riley Matthews.
> 
> **Lucas:**   _[ impossible to read ]_  … I see. And why do I care?
> 
> **Dave:**  I mean, it’s just interesting. Especially considering –
> 
> **Jeff:** You spend way too much time following this thing.
> 
> **Dave:**   _ESPECIALLY CONSIDERING_ , their more recent posts about Charlie have sort of suggested an opposing narrative –

Lucas asks Dave if he can see his phone. Dave happily obliges. Lucas swipes to the Instagram app and holds it down until the “x” pops up, deleting it from his phone. Then he hands it back, giving him a smile. Dave takes it back with a frown.

> **Dave:** Hey. :(

Asher and DYLAN ORLANDO redirect, claiming that’s not what they wanted to tell him. They simply mention Isadora, and immediately Lucas is in danger mode. He’s like what the hell are you talking about, and they hand him Dylan’s phone with the posts already open.

> **Lucas:**   _[ dead serious ]_ Shit.

Dylan and Asher call after him, but he’s already outta there. The techies exchange worried looks, not sure what the hell is going to happen next.

**INT. AAA - HALLWAY - DAY**

Lucas darts into the halls, a man on a mission. He starts sprinting in one direction and accidentally runs right into RILEY MATTHEWS, who was incidentally heading towards the auditorium to find him.

> **Riley:**  Have you seen – ?

He doesn’t even bother to comment on the post, instead insisting that they have to find Dora. Now. Riley is on the same page, nodding and taking off down the hall with him. They go around checking all of the girls bathrooms, Riley darting inside and Lucas impatiently waiting for her to emerge and confirm or deny. No show after no show.

When they get close to the one where she actually is, they can already hear her from outside. Lucas doesn’t wait for Riley this time, darting in without delay despite the gender norms. Riley hesitates on this, then dashes in after him.

**INT. AAA - GIRLS BATHROOM - DAY**

Lucas has already found Isadora when Riley steps in, approaching them crouched in the corner stall. He’s kneeling down next to her, talking her down and demonstrating that he knows well enough how to interact with Isadora when she’s in a state like this. It’s also a  _completely_  different persona on display than we’re used to. More authentic? Hard to say.

> **Lucas:**  Okay, look at me. Dora. Listen to what I’m saying. Follow my voice, not your thoughts. What are five things that you can see?

Lucas continues doing this specific routine with her – five things you can see, four you can hear, three you can touch, two you can smell, and one you can taste. Isa’s answers aren’t the most optimistic (“I can smell sweaty performer stink”), but it’s getting her out of her panic.

Riley watches, uncertain how to help but also feeling as though she shouldn’t interrupt. It’s clear that she’s impressed (and maybe, potentially, attracted) by how effortlessly Lucas is handling the situation, but also that she is no longer sure what the dynamic between him and Isadora actually is. She always assumed friends, but now it’s hard to tell.

Searching for some other way to help, she goes and picks up Isadora’s phone off the ground. The screen is totally shattered, making for a careful task to hold. Yikes.

**INT. AAA - AUDITORIUM - DAY**

Class has assembled, but all anyone is talking about are the Instagram posts. Trying to determine whether it’s true, if it could be faked, working out their reactions to it. How could they have the descendant of a famous person in their class and not even know it?

> **Darby:** My mom is part of the team developing a cure for lung cancer in pets.
> 
> **Haley:** Okay, Darbs, we meant someone famous that we  _care_  about.

People are also a bit confused about the name business of it. They’ve known Isadora as “Smackle” for as long as they’ve been at school together, and never really questioned it.

> **Dave:**  How did we not know? I thought her last name was Smackle.
> 
> **Asher:** It’s De La Cruz.
> 
> **Nate:**  Yeah, you could’ve checked the yearbook.
> 
> **Dave:**  SINCE? WHEN?

CHARLIE GARDNER states that out of respect for Isadora, they should stop perpetuating the drama and discussing it so much. Everyone is like okay Prince Charming, blah blah blah, rolling their eyes. NIGEL CHEY points out another facet to the exchange.

> **Nigel:**  You were featured this morning, too, your highness. Don’t you care about that?
> 
> **Charlie:** _[ with a nonchalant shrug ]_  Can’t control rumors.

It’s… honestly weird that Charlie doesn’t seem at all phased by this considering the earlier posts featuring him seemed to rattle him so much. But ANGELA MOORE disrupts before anyone can comment further, gathering their attention. She knows there is drama afoot, and she doesn’t have the time or patience for it. She claims they’ve got rehearsing to do, so best get to it. When she tells the techies to set up, they’re uncertain.

> **Dave:** But Lucas and Isa aren’t here yet.
> 
> **Angela:**  … and?

The message is clear. The theatre waits for no one. Get to work!

**INT. AAA - ERIC’S OFFICE - DAY**

Riley and Lucas drop off Isadora at ERIC MATTHEWS’ office, who thanks them for their help and for looking out for their friend. JACK HUNTER is present as well, checking in with Isadora after catching wind of the reveal. She doesn’t have much to say at the moment. Jack turns to Lucas and Riley, thanking them as well before dismissing them.

Lucas starts to argue, wanting to stay with Isadora, but Jack gives him a warning look. If he’s going to pick any time not to be difficult, it should be now. Jack tells Eric he’ll leave them alone, escorting Riley and Lucas out.

**INT. AAA - HALLWAY - DAY**

As Jack shuts the door to Eric’s office behind him, he turns to Lucas and Riley and asks them what they know about the purported “AAA Confessions” page. But he’s talking to the new kid and the guy who never checks social media, so they’re not much help.

Jack instructs them to return to class, leaving them alone in the hall. But Lucas is bristling, evidently in no mood to be going and watching his stupid classmates sing as if that’s the only thing on Earth that matters. Riley tries to guide him in the right direction but he storms the other way. It’s clear he’s not going to the auditorium.

Riley is like well, shit. She glances back towards the auditorium, before making a decision and going after Lucas instead of heading to class. As the opening drum riff bleeds in…

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Nicest Kids In Town” as performed by Hairspray Original Movie Cast || Performed by AAA Sophomore Performers**

The sophomore class runs through an energized yet somewhat ironic performance. They’re singing about how they’re the nicest kids in town, but considering everything that’s going on at the moment that seems far from the truth. Still, it’s boppy! FARKLE MINKUS takes the Corny Collins lead vocal, and Charlie of course is their Link Larkin.

* * *

**EXT. AAA - LUNCH COURTYARD - DAY**

Lucas pushes through the doors out into the exterior lunch courtyard, typically abandoned this time of year considering the weather. It’s cold enough to see their breath and lightly snowing, but it’s the only place with fresh air and that’s what he really needs at that second.

He stands there for a moment, letting his brain catch up to what’s actually happening. He lets out a frustrated “ _fuck_!” and kicks at the legs of one of the tables, allowing Riley the chance to catch up to him. She steps out into the courtyard and immediately hesitates because of the chill, uncertain whether she should join him or not.

Ultimately, she opts to stay. She steps out into the courtyard, trying to calm him down. She states that Isadora is in good hands with Eric, that her uncle is the best at comforting people, but Lucas claims she doesn’t get it. She doesn’t understand the gravity of the situation.

> **Lucas:**  Dora never wanted people to know about her mom. It was this whole thing. We did so much so that people wouldn’t ever…
> 
> _[ He curses again, lightly kicking at the table again. ]_
> 
> **Riley:** _[ out of the loop as always ]_  So, Valerie… is famous? People like her?
> 
> **Lucas:** People without taste.

Lucas deflates, crashing into one of the benches at the table he keeps kicking. Riley slowly approaches and sits down next to him, taking a moment of silence.

Riley ventures another thought, commending him for how well he handled the situation with Isadora. He claims it wasn’t a big deal, that’s the kind of stuff you’re supposed to know when you’re friends. It’s also not the first time she’s had a panic attack while at school, but the cause has never been this huge.

They exchange a few more words on it, before settling into the cold and the quiet. After a couple more moments, Lucas speaks.

> **Lucas:**  Sorry you’re missing class. Didn’t mean to turn you into a truant.
> 
> **Riley:** Don’t flatter yourself. I’m a big girl, I can make my own decisions about being a truant.
> 
> _[ Lucas scoffs at this, but it does seem to ease some of tension. Riley watches him for a moment, then shrugs. ]_
> 
> **Riley:**  So far, it’s not so bad.

Lucas glances at her, the two of them making eye contact. Then he looks away, rubbing his hands together. They sit there for a moment longer, hanging on the temporary peace…

**INT. AAA - AUDITORIUM - DAY**

SHAWN HUNTER has joined Angela to tidy up after the class is dismissed for lunch, the students chattering as they make their way out. Angela hangs back to help him rearrange things, and he has a snarky comment or two about how wow, suddenly she is helping him clean up. Was it her that had the change of holiday heart instead? Angela smacks him on the arm.

The two of them do get to talking, discussing Isadora and the revelation that one of their students has a famous mom. Well, Angela is surprised, as Shawn already knew and was entrusted with helping keep the secret. Hence, why they called her Smackle from day one and then just let everyone else run with it.

> **Angela:** You didn’t tell me?
> 
> **Shawn:**  Well, I’m loyal to my crew. Someone has to be.

Angela is touched by this, once again noting how much Shawn cares about his students, if nothing else. Before she heads out, Shawn takes a moment to thank her for the holiday stunt she pulled. Their shared gaze hangs just a little too long. As Shawn walks away, Angela is like… is this really happening again. Am I really feeling things for this mess again? Oh, no.

**INT. AAA - ERIC’S OFFICE - DAY**

Eric and Isadora finish their conversation, trying to decide what to do next. It’s evident that Isadora has been crying, but Eric doesn’t make a big deal out of it. He’s trying to assess what’s going on in her head, make her as prepared as possible for how the rest of the day might proceed. She’s nervous, fretting over what people are going to think of her now and things are inevitably going to change. If there’s anything to know about Isadora, it’s that she  _hates_  change.

Eric assures her that she has options, and he’ll support whatever she feels would be the least stressful avenue forward. He’s genuinely sorry this happened, but he’s not sure that continuing to hide from it will help.

> **Eric:**  I totally understand if you don’t want to have lunch in the cafeteria today. But you know, it’ll only get harder to go back tomorrow, and the day after that. The anxiety will only increase, and we don’t wanna let that happen.

Isadora nods. She knows he’s right. But it’s still a daunting task.

**INT. AAA - HALLWAY - DAY**

Riley is wandering sort of aimlessly towards the lunch room, accidentally bumping into Charlie. He’s happy to see her, pleasant and charming as always. He asks if she’s caught up on all the drama of the day, which reminds Riley of the fact that she too was featured this morning before it all got lost in the shuffle of Lucas and Isadora. She takes Charlie’s arm and pulls him aside, darting into an empty classroom so they can speak more privately.

**INT. AAA - CLASSROOM - DAY**

The moment they’re alone, Riley breaches the question of… well, if he… likes her, or what. Because of the Instagram post, and just some of his behavior since she came to the school. Charlie doesn’t get the implication at first, but as Riley becomes more explicit in her questioning he gets what she’s trying to say.

Charlie laughs nervously, removing his arm from Riley’s hold and clarifying that he doesn’t see her that way. They’re just friends, no worries, and rumors are just rumors. Although this reassurance is a relief, it’s hard to tell if it’s genuine or not. Riley points out that he doesn’t seem very upset about the post or the rumors. Charlie shrugs, basically stating his stance that as long as a rumor isn’t problematic, isn’t going to cause unwanted trouble, it’s not really worth stressing over. Is it?

> **Charlie:**   _[ lowering his voice ]_ I mean, if it were true… you and me. Would that be the worst thing in the world?
> 
> _[ Another weird, potentially flirtatious moment that contradicts what he stated earlier. Riley blinks, obviously not sure how to react. ]_
> 
> **Riley:** I… um. I have to go.

Charlie watches Riley go, maintaining his pleasant smile until she’s out of sight. Then his facade drops a bit. It’s so difficult to tell what is real with him and what isn’t. He seems genuine about seeing Riley as just a friend, but doesn’t mind perpetuating the rumors that they might be an item. So what gives?

* * *

**Song Cue ♫ ♪ “Dirty Little Secret” as performed by All-American Rejects || Performed by Charlie Gardner**

Charlie starts this anthem to avoiding the truth, kicking it off in the empty classroom before taking his self-expression out into the halls.

**INT. AAA - HALLWAY - DAY**

Charlie parades around the halls, belting the rocker and dancing with an unusual amount of frantic energy. It’s somewhat confusing, but again, a really good performance. He carries us right up until the lunch bell, the students assembling to break their daily bread.

* * *

**INT. AAA - CAFETERIA - DAY**

Lunch is here, the first true communal gathering of all the students since the morning news broke. There’s a strange energy to the room, an ominous sort of sense that almost crackles like electricity. Nothing has happened since the drop, but everyone is waiting for it. Like an aftershock after a major earthquake.

It doesn’t help that everyone is continuing to talk it up. Farkle is seated off to the side of some of his performer classmates, and he tries to get them to shut up about it. He’s both tired of the discourse interrupting rehearsals, but he’s also perhaps aware of how negatively the gossip might be impacting some of their classmates.

> **Farkle:** Ms. Moore told us to drop it, so just stuff it and eat your processed chicken nuggets. Please and thank you.

Not the nicest way to go about it, but the sentiment is there, and from an unlikely ally at that.

Riley is at another table at the other end of the cafeteria, attempting to explain what she knows about the situation to ZAY BABINEAUX, YINDRA AMINO, and Charlie. But she’s also trying to maintain Isadora’s privacy, so what she has to offer isn’t exactly groundbreaking intel.

As if on cue, as she mentions them, Lucas and Isadora enter the lunchroom together. The room somehow simultaneously gets quieter and more chattery, and as the two of them attempt to make their way across the room to the techie table in the back corner it’s impossible not to avoid some choice commentary.

* * *

**Song Cue ♫ ♪ “Tremble For My Beloved” as performed by Collective Soul || Instrumental**

None more vocal than our table of gossips. Maya watches as they approach, Darby, Chai, WYATT LIVINGSTON, and Sarah all having something to say. The rest assembled at their table watch, amused and curious as to what might happen next. Maya seems apprehensive.

> **Darby:**  Smackle, I can’t believe you didn’t tell us your mom was Valerie De La Cruz.
> 
> **Chai:** Wait, can we even call her Smackle anymore? If that is your real name?
> 
> **Maya:** Would you all leave her alone?

Maya’s statement goes unnoticed – one of the few times she’s lost her power since she stepped up to the plate when she arrived at AAA. But there’s more interesting fish to fry today. Lucas looks more aggravated than Isadora, ready to do something about it.

> **Isadora:**   _[ to Lucas ]_ Just ignore them. It’s not worth it.
> 
> **Sarah:**  I can’t believe she’s your mom. I guess the talent gene skipped a generation.
> 
> _[ Most of the table laughs at this. Lucas starts to do something but Isadora pulls him back, nudging him forward to keep walking towards their table. They’re almost there. Just have to get to the table. ]_
> 
> **Wyatt:** Yeah, she got the retarded gene instead.

YIKES! There’s no way that’s going to be spoken without consequence. There’s a moment where it seems like maybe they’ll be able to move past it, Isadora stunned but obviously not looking for a fight. She grabs Lucas’s arm and gives him a look, already sensing trouble. Warning him not to.

But there are tears pricking at her eyes and she’s biting down on her cheeks to stop her lips from trembling. Lucas gives her a thin smile, nodding like, no, yeah, totally. No trouble here.

Then Lucas whips around, marching back over to Wyatt and clocking him clean across the face.

In an instant, the cafeteria erupts into a full on war-zone. People swarm as they always do, trying to get a good look at the fray. Wyatt has friends at the table who jump to his defense, expanding the fight.

Dylan and Asher see the chaos from across the cafeteria,  _immediately_  rushing through the crowd and jumping into the scrap to defend Lucas. RIDE. OR. DIES.

Riley exclaims an “oh my God, oh my God,” before scrambling to her feet, she and Zay launching into action and trying to do damage control as the rest of the school swarms to get a good view. Charlie and Yindra attempt to stem the flow of traffic, guiding students in the other direction.

Farkle attempts to step in and stop the fight, but he gets caught in the middle of it instead. A stray punch lands on him and he goes down, hitting the ground. Riley tears her gaze away and takes off, running to get more help.

Maya, startled, jumps around the commotion and tries to get to Isadora. She’s standing in the midst of the fight, watching it unfold in front of her but totally frozen. She can’t move, she can’t react. Maya – well-intentioned but not prepared for this kind of situation – roughly grabs Isadora and drags her out of there.

Janitor HARLEY KEINER (50s) is the first adult to arrive on the scene, breaking through the crowd and attempting to pull Lucas off of Wyatt. But he’s basically rabid, and it’s going to take more than one person to get him out of there. The beat down is relentless. Good luck, Wyatt.

Riley returns with Shawn, the latter dashing into the fray without hesitation. Together he and Harley are able to peel Lucas back, restraining him as they work to get him out of the cafeteria. He’s bruised and bloody, but he’s nothing compared to Wyatt.

> **Lucas:** _[ as Shawn and Harley drag him out ]_  I’m gonna kill him! I’m gonna kill him!

As more faculty arrives, the other fighters are escorted out, Asher and Dylan included and both with scrapes on their faces. Zay kneels down and tries to help Farkle, who is still stunned by the fact that he literally got punched in the face. It would be funny, if the situation weren’t so overwhelming.

Riley tries to comprehend what the hell just happened. She looks to Zay, who locks eyes with her and shakes his head in bewilderment. Welcome to Adams? Riley exhales, dumbstruck.

* * *

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Maya leads Isadora into the girls dressing room, her usual safe haven and go-to recluse. She immediately starts checking Isadora for any accidental injury, talking her down from the situation but more so keeping herself calm. Isadora is in complete shutdown and totally out of it, so it’s mostly Maya talking for the sake of talking.

> **Maya:**  Forget what Wyatt said. He’s an idiot. Most of them are.

Maya handles Isadora with the utmost care, going on to explain that she understands how terrible other kids can be. She herself isn’t all that great, sometimes. It’s evident that she’s speaking from experience, ruminating on how hard she works to keep her financial status under wraps because of exactly this sort of behavior.

It’s the softest side to Maya we’ve seen extended to another classmate yet. Maybe she’s got more of her mother’s nature in her than she thought.

**INT. AAA - CAFETERIA - DAY**

Riley, Zay, and Charlie are helping clean up in the aftermath of the fight. Janitor Harley gives them instructions before heading out to give his testimony as to what he saw happen. There’s blood smeared on the floor, and Riley can’t look away from it. It seems impossible, surreal.

Zay claims that Wyatt got what he deserved, as he’s always saying rude shit like that and this was one step too far. Charlie agrees to a certain extent, but he argues that there’s no way Lucas isn’t going to get the axe for this. Like, speaking of one bridge too far. This is enough to pull Riley out of her fugue, asking Charlie what the hell he means. She gets all fired up on Lucas’s behalf, stating that there’s no way they can expel him. She storms out, obviously on the warpath.

Zay and Charlie watch her go, both skeptical that her quest is going to hold any water. Now alone, Zay takes the initiative to question Charlie on his seemingly calm nature in regards to all the rumors going around about him. Charlie remains nonchalant, but Zay is clearly suspicious about how chill he seems about the whole thing. It just doesn’t feel… believable. Or human.

Charlie grows more and more nervous at the way Zay seems to see right through him. He suggests they focus on the cleaning, avoiding any further interrogation.

**INT. AAA - AUDITORIUM - DAY**

Speaking of clean-up, Shawn is back in the auditorium attempting to patch up a couple of scrapes he got from pulling Lucas off of Wyatt. He winces as he does so, evidently not able to stretch the way he needs to in order to bandage himself up effectively. Angela enters, watching for a moment in amusement before sauntering her way over.

> **Angela:**  You always were fiercely independent. Even in licking your wounds.

She steps up and holds her hands out, waiting for him to relinquish control of the bandages and allow her to help. She starts to patch him up. Shawn jokes about how he will defend Lucas to the death, but  _God_  if the kid isn’t like a feral cat half the time.

Angela points out that whatever is going on with the culture of their students, the rivalry they’ve been perpetuating between the two of them definitely isn’t helping matters. Shawn agrees, and the two of them effectively decide to try and work more in one another’s corners rather than against one another. Let the past be the past, and focus on right now.

There’s a moment of tension as they realize how close they’re standing and how quietly they’re speaking. When Angela finishes patching him up, she lifts her gaze to meet his. All those old feelings have definitely shaken loose… they’ve got this magnetic drift towards one another…

Shawn backs off before the moment can develop. He thanks Angela for her help, before excusing himself to go check on his students.

* * *

**Song Cue ♫ ♪ “Never Can Say Goodbye” as performed by Glee Cast || Performed by Angela Moore (feat. Maya Hart, Chai Fresco, and Darby Winters)**

Angela is left reeling, wondering if she really is destined to fall back into the same traps with Shawn Hunter as she did all those years ago. She takes this song out into the halls of AAA.

**INT. AAA - HALLWAY - DAY**

As she’s wandering her way through the halls, her backup singers make the trek with her. She ends outside teacher’s lounge, walking away just as Eric comes down the hall with Isadora. He’s walking her protectively, making a march towards the lounge.

* * *

**INT. AAA - TEACHER’S LOUNGE - DAY**

Eric steps in, telling the couple of loitering teachers present to get the hell out. They do, knowing that if Eric is snapping at them – usually jolly and cheerful Eric Matthews – then something must be seriously wrong. He goes to set Isadora up on the couch, doing everything he can to make her more comfortable.

It’s evident that he’s prepared for these kind of situations, taking his role as a counselor to an autistic student quite seriously. Once he’s gotten her all situated, he offers to stay with her. The two of them settle into the quiet, Isadora lightly fiddling with a string on the edge of the weighted blanket she’s been given. As we’re settling into the quiet…

**INT. AAA - JACK’S OFFICE - DAY**

_BAM!_  Jack slams his planner down on the desk, launching into an intense scene between him and a bloodied up Lucas. It seems as though Lucas hasn’t even been to the nurse, he was carted and dumped straight into Jack’s office. Without the chaos of the fight to blur it, his injuries are more glaring up close.

The two of them debate what the hell happened. Lucas is aloof and defensive to start.

> **Jack:**  Well, you tell me what the hell you think I’m supposed to do. What am I supposed to say when a student is carted out of the cafeteria shouting…
> 
> _[ He reads from a testimonial on his desk. ]_
> 
> **Jack, deadpan:** “I’m going to kill him, I’m going to kill him?”
> 
> **Lucas:**  Sounds like hearsay. Kind of a big problem at this school…
> 
> **Jack, louder:** _[ Slamming his hands down on the desk. ]_ Is this a joke to you? You’re lucky they’re not PRESSING CHARGES!
> 
> **Lucas:** What, was I supposed to just do nothing? With the shit he was saying –
> 
> **Jack:** Whatever it was, it doesn’t give you the right to –
> 
> **Lucas:** He called Dora a… a  _retard_ , I’m not just gonna stand there and let that happen!
> 
> **Jack:**  … what?

He hadn’t heard that part of the witness reports, at least not yet. Lucas gives him the full spiel, a bit hard to understand through how he’s gritting his teeth. Jack is more sympathetic upon learning the full context. But it still doesn’t give Lucas a free pass.

> **Jack:** I’m sorry to hear that. It’s disappointing, and unacceptable that he said those things.  _[ off Lucas’s disdain ]_  But the way you reacted isn’t appropriate either. And I can’t just do nothing.
> 
> **Lucas:** So? What?
> 
> **Jack:**  Dylan, Asher, Sarah, and the others will be receiving a day’s suspension and one Saturday detention.
> 
> **Lucas:** Don’t punish Asher and Dylan, they were just –
> 
> **Jack:** Wyatt will be given a week-long suspension, especially given the full context of what may have provoked the fight in the first place.
> 
> _[ There’s a pause. Lucas locks eyes with him, waiting. ]_
> 
> **Lucas:**   _[ practically daring him to say it ]_ And?
> 
> **Jack:** Ten days. Effective immediately. Go get your things.

Jack is done with the conversation. Lucas isn’t, not expecting the dismissal to be so sudden. He hesitates, changing his tune. He pleads for one last visit to Isadora. It’s the first soft moment he’s shown the entire conversation, obviously sincere.

> **Lucas:**  Can I see her? I just want to make sure she’s okay.
> 
> _[ Jack hesitates. Lucas meets his gaze. ]_
> 
> **Lucas:** _Please_.
> 
> **Jack:**  … five minutes. That’s all I can give you.

**INT. AAA - ERIC’S OFFICE - DAY**

Riley marches into Eric’s office. She launches into an impassioned speech about why they can’t expel Lucas. She explains all that she knows about the situation and what may have provoked the attack, as well what she’s been able to glean about Lucas as a person so far. She specifically references the way he handled Isadora this morning, and how he was obviously, clearly acting in her defense. They can’t expel him. They can’t!

> **Eric, patiently:**  Lucas isn’t being expelled.
> 
> **Riley:** WELL – Oh! Oh. Well, good. Good. Um, what?

Eric gestures for Riley to sit, which she does obediently. He then proceeds to give her the full explanation.

> **Eric:**  I’m sure you, like everyone else, have been questioning why Lucas at triple A.
> 
> **Riley:** Well, I wouldn’t… he’s a good technician…
> 
> **Eric:**  I don’t dispute that. But it’s pretty clear being here doesn’t seem like his top choice. And that’s because it isn’t.

Eric explains, for the first time, the true reason Lucas is at Adams. His enrollment is a personal favor to an old friend of Jack’s, who happened to be best friends with Grace Friar in college. She specifically requested that Lucas get a spot at the school after a particularly disastrous freshman year at the local public school.

To put it lightly, Kenneth Friar isn’t… the most charming of men. It’s best to keep Lucas away from him as often as possible. So why this school? The local public school that Lucas would go to isn’t all that bad… except that it employs Kenneth as a coach and part-time administrator. If Lucas attended that school, he’d be in the grip of his father basically full-time, which wouldn’t be good for anybody involved. In fact, they know this for a fact, as Lucas skipped so much school the first time he went to ninth grade that he had to repeat it upon transferring to Adams.

So given the circumstances, it’s pretty unlikely – barring serious, serious crime – that Lucas will be expelled any time soon.

Riley is completely floored. She mutters an “oh my God” and hides her head in her hands, trying to wrap her brain around it. First Isadora’s famous mother, now this. But at least she’s getting a fuller picture, if there’s a bright side to be found.

> **Riley:**  Is… is anybody here fine? Is anybody actually happy?
> 
> **Eric:**   _[ with a sympathetic shrug and half a smile ]_  We try our best.

Well, seems like their best isn’t good enough. Riley gets to her feet, still somewhat dazed.

* * *

**Song Cue ♫ ♪ “Fake Happy” as performed by Paramore || Performed by Riley Matthews (feat. AAA Sophomores)**

**INT. AAA - HALLWAY - DAY**

As Riley emerges back into the sea of students, she launches into this sardonic and cynical Paramore tune. Other performers trickle in throughout, until they’re a full parade of dazed and somewhat depressed students marching through the hall.

**INT. AAA - AUDITORIUM - DAY**

They finish the number on the stage, Riley front and center with the rest of the main cast behind her. As Riley finishes the song, she tries to catch her breath. It’s been a crazy day.

* * *

**INT. AAA - JACK’S OFFICE - DAY**

Angela, Shawn, and Eric have assembled in the principal’s office to discuss the confessions page. Jack has reported it, but that’s not guaranteed to dispose of it or keep it gone for good. He instructs all of them to be vigilant, keep an eye out for odd behavior, because it’s time they started figuring out where the hell this page is operating from.

They all agree, finally on the same page and working towards a united cause.

**INT. AAA - TEACHER’S LOUNGE - DAY**

Isadora is starting to come out of her shutdown, more restless and uncertain what’s going on than anything else. She’s still obsessively picking at threads from her blanket, unable to sit still.  Thusly, it’s relief when Lucas comes by to visit – that is, until she sees his condition. She questions what the hell he was thinking as he sits down next to her, telling him that he shouldn’t have started the fight. He claims he had to, but she disagrees. It was too dangerous, and not worth whatever consequences he might face because of it. Because when he’s not there, when she has to face all this alone, she’s in just as bad a shape. She can’t deal with this hellhole without him.

Lucas opts not to tell her about his suspension. Instead, he assures her that it’s all going to work out, checking to see if she needs anything and expressing gratitude that she’s okay. They quickly get back to their usual banter, showing just how easy and comfortable their relationship is.

**INT. AAA - BOYS DRESSING ROOM - DAY**

Farkle is in the dressing with Yogi, Charlie, and Nigel, attempting to cover up his developing bruise with stage makeup before rehearsal. He’s on a dramatic tangent, forlornly lamenting how his perfect face is marred. And for what? Nigel and Yogi exchange a look, the former rolling his eyes. Maya enters, startling the boys.

> **Yogi:**  You can’t be in here!
> 
> **Maya:** Unclench, Yogles, and scram. I need to have words with Minkus.

Farkle glares at her, potentially a little scared. Nigel and Yogi sense the seriousness of her statement, leading the way out with Charlie following behind. Within moments, the two of them are alone. He continues his soliloquy in lieu of not knowing what else to say as she’s approaching.

> **Farkle:**  It’s a true shame. With a face this damaged, I’ll probably never work in this town again.
> 
> **Maya:**   _[ with an eye roll ]_  Alright, Rocky, calm down. Let me see that. Come on.

Maya takes the makeup from his hands, leaning closer and beginning to apply foundation to the bruise. Farkle is hesitant, but lets her help. The two of them stand in silence for a few moments, Maya much more skilled with the makeup than he was.

Not able to hold it in any longer, Farkle questions why she’s helping him at all. They’re not exactly… well, they’ve never been friends. Maya admits that she doesn’t know, really. But something about the way he jumped into the fray to try and stop it this afternoon impressed her. Showed he had an actual heart in there somewhere beneath all the self-righteousness and entitlement. Digs aside, there’s an actual potential for future friendship between them.

Maya finishes with the cover up, directing him out with her towards the stage for their final number. Farkle asks if they’re still doing it with everything that happened, to which Maya simply shrugs.

> **Maya:**  Show must go on.

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Titanium” as performed by David Guetta (feat. Sia) || Performed by AAA Sophomores**

The sophomore class wraps the episode with this impassioned performance. It’s a bit odd, some students missing and everyone a bit out of step. But the sentiment rings true.

**INT. AAA - HALLWAY - DAY**

Isadora is gearing up to head out of school, but not before taking back control of the narrative. As she heads through the halls, she turns on her cracked phone and goes to Instagram. She prepares to submit a post of her own to AAAC, scouring through a folder in her photos application simply labelled “Valerie.” She picks a photo of the two of them.

For the caption, she puts a simple statement:  **“I’m Valerie De La Cruz’s daughter. My surname is De La Cruz, not Smackle. So now you know. Now fuck off, and leave me alone.”**

Then, she blocks the account. As the song comes to an end, she walks past the crowd of students staring at her and pushes through the doors like a boss. Leaving the drama behind…

In theory.

_END OF EPISODE._


	8. Stripped [ 1.06 ]

**Summary for the Chapter:**

> NOTHING BUT THE BEAT – In Lucas’s absence, Shawn and Angela give the techies a break by declaring all numbers acoustic for the duration of the week. Farkle can’t get a grip on the assignment. Zay fights a creeping sense of isolation.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://t.umblr.com/redirect?z=https%3A%2F%2Fopen.spotify.com%2Fuser%2Fauthorisasauthordoes%2Fplaylist%2F5R7px9cVwMaSFJQj8osIur%3Fsi%3Dg5BG-Hr4Qyq7OgiTZ0GmpA&t=MjAzZjM3YTQ5MWE0MmZmOWNiYzU4ZTFmYWY1MmM5NzUxYzE4MDU5ZCxGalRsZERMWQ%3D%3D&b=t%3AkDXCOjdyQYrhnuEmlkaYMA&p=https%3A%2F%2Ffriarlucas.tumblr.com%2Fpost%2F184556316482%2Fambition-season-1-first-impressions-pilot&m=1)! )

**INT. AAA - AUDITORIUM - DAY**

A brand new week. ANGELA MOORE is standing in front of the seats, looking up at her stage with a certain sense of apprehension. But she claps us in anyway. Five, six, seven, eight…

* * *

**Song Cue ♫ ♪ “Puttin’ On the Ritz” as performed by _Young Frankenstein_ Original Cast || Performed by AAA Sophomores**

FARKLE MINKUS kicks off the number performing in the Victor Frankenstein role, and MAYA HART and ZAY BABINEAUX soon joining him for the first third. It seems like a perfectly normal performance, and there’s nothing ambitious or off-putting about it. In fact, with their combined stage presence and star power, it’s a rather enjoyable little number.

That is, until the dance break.

When the dance break kicks off and all of the performers filter onto the stage (Wyatt noticeably absent, of course), the number kicks up a notch. The dancing is intense, for one, but the strain that truly begins to show is how hard the techies are working to keep up with the overzealous staging requirements.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Yes, it’s the first full week of Lucas’s suspension, and his absence is being felt throughout the entire techie brigade. ISADORA DE LA CRUZ is in Lucas’s usual seat with headset on, trying to keep everything from falling apart, but considering she had a rather difficult week herself not so long ago, she’s not in top form and seconds away from a break down. She snaps commands into the headset instead, definitely not spreading an aura of confidence.

**INT. AAA - AUDITORIUM - DAY**

While the tap dancing continues, the techies are running around frantically backstage in an effort to keep the production aspects of the number afloat. ASHER GARCIA gets so overwhelmed and out of breath that he faints, DYLAN ORLANDO barely managing to catch him in his arms. JADE BEAMON has had to step up and work as a stagehand, but it’s totally out of her comfort zone so she’s not much help.

NATE MARTINEZ and DAVE WILLIAMS are in charge of moving a rather large set piece at the end of the number, but several circumstances prevent the transition from being ready in time. Instead, as the tapping comes to a thrilling conclusion, Dave ends up tripping on a section of curtain rope and brings the whole back curtain tumbling down.

* * *

It startles the performers, all of them shrieking and jumping out of the way. They hadn’t even noticed how much the techies were struggling. Angela claps, reluctantly, before insisting they all disband for a break.

> **Angela:** Davis, you’re not injured are you?
> 
> _[ Nate and Jade have dug Dave out of the mountain of curtain. He’s dazed, but gives her a thumbs up. ]_
> 
> **Angela:**  Oh, good. Because our insurance definitely wouldn’t have covered that.

**_Cue title sequence._ **

**INT. AAA - BLACK BOX THEATER - DAY**

Angela and SHAWN HUNTER are eating lunch together, managing a much better rapport than they’ve displayed the last few episodes. It is clear they are taking their agreement to put their feud aside seriously, and both quite willingly. If anything, they seem perfectly content to spend a lunch hour in each other’s company.

Shawn nods along as Angela describes the train wreck they just watched unfold, and he claims he’s not surprised. Given everything that happened last week and the current absences, they’re going to be a bit off-kilter.

> **Shawn:** I know he doesn’t come off this way, but Lucas is more of a leader than you’d expect. If anything, he does a good job of keeping everybody in line. It’s not a shock to me that the train is sliding off the track without that discipline.
> 
> **Angela:** Even with Isadora?
> 
> **Shawn:** Isadora is brilliant, but she’s got her own shit to deal with after last week. Thrusting the entire operation of the crew on her shoulders maybe isn’t the best idea right now, regardless of how capable she typically is.

Angela doesn’t have any arguments against that. She accepts it, instead attempting to problem solve how they’re going to handle the next week if circumstances are going to remain out of the ordinary. Shawn states that his main goal is just to keep his kids from falling apart any more than they already have, so if the performers could cut them some slack that would be great.

This actually seems to give Angela an idea. She nods along, promising him that she thinks she can do him one better. When they exchange a look and Angela gives him a knowing, mischievous smirk, it’s evident that there’s  _definite_ romantic tension between them reignited again. Wonder if  _that’s_  gonna go anywhere…

**INT. AAA - CAFETERIA - DAY**

Zay is sitting at the usual table with CHARLIE GARDNER, YINDRA AMINO, and NIGEL CHEY. Only now, Maya has joined their ranks as well. The group of them gab on and on about their afterschool plans, how they spent the weekend, etc., Zay mostly just half-listening and not exactly contributing to the conversation.

When Maya lobs the question of afterschool plans towards him, he sort of shrugs it off and doesn’t have much to offer. He claims he has a lot of rehearsing to do, and they don’t question it because after all, Zay is the most popular student in their class. Of course, he’s a busy, busy man.

Zay is like ha ha, yeah, and don’t you forget it… but as the conversation drifts to another topic, his smile sort of fades as he focuses back on his food.

**INT. AAA - LUNCH COURTYARD - DAY**

Rather than sitting at the usual table, RILEY MATTHEWS is seated outside in the lunch courtyard with Isadora. It’s the same table where Lucas and Riley escaped to get fresh air in the previous episode, and apparently where the techies prefer to sit when it’s not frigid outside. In this case, it allows them some distance from the scene of the crime of last episode.

Riley attempts to get a read on how Isadora is feeling, but it’s difficult to tread without coming off like she’s treating her differently. Isadora is like could you chill, I’m fine, I will be fine, which Riley takes as her cue to tone down the concern a little bit. She also has other curiosities on her mind, so she shifts gears to that instead.

> **Riley:**  So, um… have you talked to Lucas? How is he handling the suspension?
> 
> **Isadora:**  I don’t know. We haven’t talked much.
> 
> **Riley:**  Is everything okay? Between you two?
> 
> **Isadora:**  No, yeah, we’re fine. It’s just that when he’s not around, like right there in front of you… I don’t know. He can be hard to get a hold of.

Riley does  _not_  like the sound of that, but she doesn’t question it further. Isadora changes the subject, the two of them continuing to pick at their lunch.

**INT. AAA - AUDITORIUM - DAY**

Returning back to class, Shawn and Angela stand together on the stage and announced their weekly assignment. Performers will be choosing acoustic songs  _only_  for the duration of the week. This is to stretch their natural ability and wean them off the reliance on props and spectacle, but also to give the techies a bit of a breather.

The performers, particularly the divas, are not happy about this decision. If they’re not being flashy, what is their  _purpose_? Farkle tries to plead for help.

> **Farkle:** This is an outrage. It’s a joke. Ms. Moore…
> 
> **Angela:**  I’m with Hunter on this one.  _[ off Farkle’s disgusted reaction ]_  We all could do with a little refocusing, and it’ll be easier for everyone involved.
> 
> **Maya:**  For the whole week?
> 
> **Angela:**  The techies are short-staffed –
> 
> **Farkle, in disbelief:** They’re missing  _one_  person!
> 
> **Dave:**  It feels like more. :(

The mandate has been delivered, and despite Farkle’s greatest protests, it doesn’t seem like it’s going to change. Zay, like usual, finds all of their whining and moaning over the whole thing to be ridiculous.

> **Zay:** You’ve all become so reliant on razzle-dazzle you’ve forgotten how to actually perform. Or maybe you just never had it in the first place.
> 
> **Farkle:**  Oh, like you’re so much better. You’re no more prepared than the rest of us.
> 
> **Zay:**  You think so, huh? It’s fine, I can show you the ropes.

Zay hops up onto the stage, pointing to Charlie in the audience. He beckons him up with him, directing him towards the piano as his acoustic accompaniment. Charlie’s surprised, but not opposed to the singling out, and happily jumps up to help.

> **Zay:** _[ over his shoulder, to Charlie ]_ You’ll keep up.
> 
> **Charlie:**   _[ bemused, but also kind of charmed ]_

* * *

**Song Cue ♫ ♪ “Perfect Places (Acoustic)” as performed by Eden Mary || Performed by Zay Babineaux (feat. Charlie Gardner)**

The performance is simplistic and stripped down, but just as engaging as ever. Zay oozes natural stage presence, and his vocals with Charlie’s piano skills aren’t a bad match. As the performance goes on, Charlie glances up numerous times from the keys to smile at him from behind.

Angela sort of dances along, evidently pleased that someone seems to be taking well to the assignment. The other performers seem to be coming around as well, save for Farkle. He’s grumpy throughout, obviously not thrilled with this new development.

* * *

**INT. JACK’S APARTMENT - NIGHT**

Shawn is joining JACK HUNTER for dinner, keeping up with their usual monthly half-brother meal. The two of them discuss what’s going on with their respective ends of the school, Shawn explaining their acoustic mandate of the week while Jack updates him on the progress he’s making of trying to figure out who is running  _AAA Confessions_  – which is to say, little progress.

Shawn empathizes, as part of the reason the Insta is so successful is because of the anonymous and hands-off way it operates. They didn’t have anything like this when they were teenagers. Especially because regardless of who is  _running_ the account, they’re not the ones making every post – anyone who submits a post is liable in some regard.

Still, they’re not without potential suspects. After rattling off some student names they narrow down to their three prime kids with motive – Farkle, Maya, and Lucas.

Shawn rules out Farkle, stating that while he’s definitely insane, he doesn’t have the time to spare doing something like that when he’s so obsessed with being front and center all the time. He hardly sees him on his phone. They also both agree that Maya isn’t all that likely a culprit either, as she wants the opportunities at AAA more than anything and would never do something so stupid that could jeopardize everything (hence, her squeaky clean appearance).

Lucas is a little trickier to unpack. Even Shawn, his biggest defender, can’t deny that he has blatant motive just because of how much he resents being at the school. Not to mention, the techies are rarely featured. Still, Shawn points out that Lucas would  _never_  throw Isadora under the bus like with what happened last week.

Jack doesn’t take much arguing, as he doesn’t believe it’s Lucas. Shawn is admittedly a bit surprised by this, but as always, Jack has clearly thought things through.

> **Jack:** It’s not that I don’t see the motive, believe me, I see enough of it every day. But I’ve also been reprimanding him for almost two years now, and this kind of behavior… it’s just not his mode of operation. He acts the way kids at our school did growing up, you know – reckless, hotheaded, choice actions –
> 
> **Shawn:** You can say you’re talking about me, dear brother of mine. It’s okay. I can take the shade.
> 
> **Jack:** _[ ignoring him ]_ This Instagram stuff, it’s too methodical. Too much maintenance involved. Not to mention, there’s no way Lucas cares enough about his fellow students to orchestrate something like this.

Jack goes on to highlight the situation from the week prior, highlighting that Shawn is right – considering the reasons he started the fight with Wyatt, he has a difficult time believing he would do something so cruel to Isadora. Even if it’s a convenient cover.

> **Jack:**  I’m not saying he isn’t a troublemaker – it would be impossible to say such a bold-faced fallacy. _[ off Shawn’s expression ]_  But I don’t know, the whole situation with Miss De La Cruz and how things have been this past year… I feel like I’m not getting the full picture. Like there might be more under the surface in this case that I haven’t considered.

Shawn isn’t going to argue with that – he’s been there himself. And while they both feel pretty confident ruling him out as an AAAC suspect, that just puts Jack back at square one and empty-handed.

Jack switches gears instead, turning the conversation to Angela. He’s definitely noticed the new tension that has blossomed between them. Shawn claims that things are better as far as work, but Jack isn’t asking about work. He questions whether Shawn wants to go down this road again with someone as talented (and flighty) as Moore, but he deflects and claims nothing is going to happen anyway. She’s a star, and he’s a deadbeat. That’s all there is to it.

Jack doesn’t look convinced, taking a pointed bite of his food.

**INT. BABINEAUX HOME - NIGHT**

Speaking of Instagram, that’s what Zay is focusing on as he lazes around at home. He scrolls through his feed, looking at all the photos of his classmates being social and seemingly having the time of their lives as Instagram is wont to put forth. And there he is, sprawled on his living room couch and hanging out with his family.

He’s evidently just finished lamenting the situation to his mother, DONNA BABINEAUX. His sister JADA BABINEAUX (20), sophomore at the Fashion Institute of Technology, is also there to chime in with sarcasm and jaded twenty-year-old wisdom.

Aside from Zay’s isolation, Donna comments on one of the other factors that might be contributing to his feelings of isolation with disbelief.

> **Donna:**  I have a hard time believing that there is not one other boy at that school who deviated from the straight and narrow path of sexuality.
> 
> **Zay:**  Unfortunately, the ones that have are either taken or idiots. Or both.
> 
> **Jada:**  What about that kid with the weird name? The obnoxious Jewish one who wears blazers even on casual Friday.
> 
> **Zay:**  Farkle? You want me to befriend  _Farkle_?
> 
> **Jada:**  I’m just saying, anyone that dedicated to a suit jacket and the career of Rachel Berry can’t be straight.

Her wisdom doesn’t stop there.

> **Jada:**  Don’t worry. Once you get to college, everyone is so concerned with labeling themselves and exploring their identities that you won’t even be able to keep up with all the eligible men suddenly in your reach.
> 
> **Zay:**  Charming.

But all that isn’t really what Zay is stuck on anyway. The romance stuff, he can wait on – but it’s getting real isolating up at the top. Considering he’s the most popular student in his grade, in theory, he should be blowing up with requests to hang out. And yet.

Donna suggests that Zay reach out to some of his friends outside of AAA. Limiting himself to the same artistic crop of people might be doing more harm than good – maybe he’s just got a little cabin fever. He shrugs the suggestion off, but there might be merit to the idea. He contemplates as he continues to scroll through that daunting, isolating Insta feed…

**INT. MATTHEWS’ APARTMENT - NIGHT**

The Matthews family doesn’t operate with nearly the same comfort as the Babineaux clan. Their family dinner is quiet, heavy with a weird kind of tension. CORY MATTHEWS and TOPANGA MATTHEWS won’t even look at each other, which AUGGIE MATTHEWS doesn’t notice but Riley clocks immediately.

She tentatively explains that she probably won’t be around much this week, as she’s going to be hanging out with friends from school. Cory seems concerned by this, wondering who the friend is and when she thinks she will be home – operating with more protectiveness than maybe necessary. Topanga, on the other hand, abruptly cuts him off and tells Riley to have fun.

The look Cory shoots her is yet another red flag. Riley is dying of curiosity (and dread), but she opts to avoid whatever may be coming around the bend for her and just follow Topanga’s directive. She focuses back on her food. As the ukulele of “Riptide” floats in…

* * *

**Song Cue ♫ ♪ “Riptide” as performed by Vance Joy || Performed by Charlie Gardner (feat. Nick Yogi & Dave Williams)**

**INT. AAA - AUDITORIUM - DAY**

Charlie performs an upbeat and energetic rendition of the chart topper as his assignment, Dave providing the ukulele backing and Yogi backing him on harmonies. It’s a nice upturn compared to the heavy acoustic that permeates most of the episode. As he dances around with the microphone stand, a montage launches us through the rest of the students attempting to figure out what their performances are going to be.

Farkle is struggling the most with the assignment. He runs through dozens of concepts, creating mood boards for each of them – all too complicated or flashy to qualify for a stripped down week. Angela continuously vetoes them. He’s going to lose his mind.

* * *

Shawn meets with the techies on the stage while the performers are in the black box, seated with them on the floor. He explains that given the nature of this week and the absence of their usual work, it has been requested that each of them perform a number as well. This earns a predictable uproar, but Shawn attempts to placate their panic by assuring them that they will only have to perform for one another,  _not_  the performers.

When they’re still not convinced, Shawn points out that the stakes are subterranean levels of low and they just need to get it out of the way. As they’re dismissed, Dave shakes his head.

> **Dave:**  You all are damn lucky Lucas isn’t here. That man would  _never_  stand for this.

A fair point, but then Lucas is not there is he? So the assignment stands.

**INT. AAA - LUNCH COURTYARD - DAY**

Isadora gives this update to Riley, who is far more enthused by the possibilities than she is. She immediately offers to help her practice, guaranteeing her they’ll find the perfect number for her to perform. She basically clears her entire schedule. It’s obvious that Isadora appreciates the help, but is pointedly uncertain over how she feels about this new challenge.

**INT. AAA - HALLWAY - DAY**

The bell rings, releasing students for the day. Angela spots Shawn through the exiting crowds and jogs to catch up to him, snagging him by the arm and pulling him into a conversation. She suggests that the two of them get together to discuss what the rest of the semester is going to look like, considering if they’re going to be working together and bridging their divides it’s going to take a lot more collaborating.

Shawn is surprised, but agrees and offers to come to her place that evening. Angela enthusiastically confirms, allowing him to walk away from her. The expression on her face as she watches him go says it all – she’s very excited about this academic get-together. Oh, Miss Moore…

**EXT. FOSTER HOME - DAY**

Isadora leads the way up the steps of her elegant and well-kept foster home. Riley is stunned as she follows her, obviously not expecting such a nice place in Brooklyn to be the home of Isadora De La Cruz. What she was expecting, she wasn’t sure, but it wasn’t this.

As Riley comments on the beauty of the place, Isadora shrugs it off. She clearly holds limited warmth towards the mini-mansion.

**INT. FOSTER HOME - KITCHEN - DAY**

Riley is distracted by the other foster kids coming and going as Isadora gets the both of them a snack. While they’re there, KAREN VAN HERSCHING (50s) enters with one of the babies, ADRIEN WOODS (3) in tow. She’s shocked to see Isadora with a new friend, more than happy to greet Riley who seems like a sweet and normal girl.

> **Karen:**  It’s so nice to meet you. Isadora doesn’t bring many of her friends around. The one we’ve met, he’s…  _[ searching for the polite phrasing ]_ well, he’s  _interesting_.
> 
> **Riley:**  I’m familiar with his work, yes.

After Karen asks them a dozen times if they need anything and not to hesitate to ask, Isadora escapes the conversation and leads Riley upstairs.

**INT. FOSTER HOME - ISADORA’S ROOM - DAY**

Riley again tries to discuss the foster situation now that she’s seen it for herself, but Isadora is an expert at deflection on this particular topic. She continues to sidestep and refocus on the assignment until Riley relents, allowing them to shift the conversation. She jumps on the mention of Lucas, obviously following up on a subject they were chatting about earlier.

> **Riley:** Oh yeah, did Lucas respond about us stopping by?
> 
> **Isadora:** _[ nonchalantly ]_  Oh, yeah. He said no.
> 
> **Riley:**  … oh. Okay. Cool.

It’s okay, Riley. Chin up. It’s not you, it’s him. Believe me.

**EXT. BABINEAUX HOME - DAY**

Zay is finishing his commute home, walking down his street with his headphones on. Outside his house, he hesitates on an older text message with one of his friends from middle school. It’s been a couple weeks since they last texted.

After a moment, he types out a text asking if they want to hang out. He almost hits send, but can’t bring himself to do it. He locks his phone, walking up the rest of the steps to his front door.

Then, he changes his mind. He huffs, pulling up the message again and hitting send in a beat of frenzy. Within moments the friend responds, happily agreeing and beginning to make plans.

Zay exhales in relief, already feeling a little bit less alone. He smiles, stepping into his house.

**INT. CHUBBIE’S DINER - DAY**

Maya enters the old-fashioned diner, a familiar haunt for the students of AAA. At a nearby table, KATY HART finishes up gabbing with a regular customer. As she heads back, she exchanges a smile with Maya who hops up onto a stool at the counter.

She doesn’t waste a second to update her mother on their current assignment, asking for advice considering Katy was the one who pointed out to her that not every performance has to be a flashy showstopper. How would she go about tackling this assignment? Katy thinks on it, humming to herself as she wipes down the counter.

> **Katy:**  To be honest, I’ve always preferred singing duets. Sharing a song with a friend is always better than singing alone, especially if you can’t hide behind smoke and mirrors.

Maya absorbs this, allowing Katy the affectionate gesture of pushing some hair from her face. Then she offers her a smile.

**INT. ANGELA’S APARTMENT - NIGHT**

Shawn shows up to Angela’s as promised, a bit awkward as she eagerly leads him inside and shows him around but not all that opposed to being there. Although there is lingering hesitation with one another, both of them are putting forth their best efforts to meet in the middle and find common ground. So the gathering is friendly above all else.

Perhaps, in some ways, a little more friendly than colleagues would allow for. Although they’re there to work, Angela does pull out a bottle of wine about halfway through the evening, so it’s pretty clear that this meeting isn’t going to maintain a sense of professionalism. After a couple of drinks they’re laughing and joking around, gossiping about their students and fellow employees and ruminating on how wild their jobs seem to be for a couple of educators.

Shawn claims that he’s hardly an educator, and Angela vehemently disagrees with him. A pitch too passionately, with the alcohol talking. She points out how far he’s come in cleaning up his act, how he’s able to strike a great balance of stern yet supportive, and more than anything how much those geeky tech kids look up to him. It’s clear he cares about them, is more dedicated to them than maybe anything he’s ever known in his life.

The passion drifts into a moment, the two of them holding eye contact as Angela loses her train of thought. Thankfully, the music player switching songs provides them a distraction.

* * *

**Song Cue ♫ ♪ “Dreams” as performed by Lissie || Performed by Angela Moore**

The Fleetwood Mac classic prompts Angela to get up from her seat, proclaiming how much she loves the song. Shawn states that he remembers, as they listened to it all the time when they were dating back in college. Angela begins an impromptu sing-along, essentially taking over the number. She dances around the living room, Shawn watching in amusement and lowkey mesmerized.

About halfway through, she pulls Shawn into the dance, too. It’s a sloppy, loose pas de deux, harkening back to the simplicity of being young and in love and dancing around drunk in college like the future was theirs to control.

* * *

As the song begins to fade, Shawn and Angela descend into laughter… which then turns into a kiss. Then, somehow, another one. And another. Clearly, Shawn was  _wrong_  about the two of them never happening again.

As they conduct their business…

**INT. RESTAURANT - NIGHT**

Zay hangs out with his friends from middle school, the group of them out to eat. While there’s a clear rapport between all of them and it’s evident they’re pals, Zay continues to struggle to feel seen. He doesn’t really fit in with his former friends anymore – they all like him, of course, but they don’t really  _get_  him. There’s not many spaces for him to add to the conversation.

He’s not dramatic enough for the divas at AAA, but he’s not grounded enough in the mundane for his former friends. He’s a nowhere man, and it’s starting to get to him.

**INT. RILEY’S BEDROOM - NIGHT**

Riley and Isadora are hidden away in her room, practicing scales on her keyboard. She is eager to help Isadora find confidence in her voice, but Isadora is still reluctant. Although they’re growing a solid friendship, she’s not comfortable enough around her to take the assignment seriously. She may have a piqued interest in performing, but it’s not strong enough to override her self-consciousness.

Isadora messes up another scale and grows frustrated, giving up. Riley tries to encourage her but she’s not having it, instead going into a mini-rant about how she might actually fail. She might fail something for the first time in her life, as if nothing else could go wrong this month.

Before Riley can put a positive spin on things, their conversation is interrupted by Cory and Topanga reentering the apartment. Their voices are raised and the discussion is obviously an argument. Cory sounds particularly distressed. Riley’s eyes widen, glancing towards the door.

They wait for the argument to dull to intense whispers, disappearing behind the closed door across the hall. Isadora watches Riley, realizing that her life might be far from rainbows and optimistic spins. Embarrassed, Riley agrees that maybe it’s time to call it a night and states that Isadora should probably get ready to go.

**EXT. RESTAURANT - NIGHT**

The group of friends heads out, still gabbing and planning their next move. Zay sort of lingers behind, a bit zoned out. When one of his friends catches his attention and asks if he wants to come along to the movies with them, he sort of shrugs it off and makes up a lie that he needs to head home. Early morning tomorrow with rehearsals. A couple of others try to convince him to come, but he’s just not feeling it. They all bid him goodnight, stating they should do this again.

Zay watches them go, just as easy going as before. Unmoved, with or without him. Zay exhales, stuffing his hands in his pockets and heading in the opposite direction.

* * *

**Song Cue ♫ ♪ “Mr. Brightside” as performed by Run River North || Performed by Zay Babineaux (feat. AAA Sophomores)**

A soft guitar rift floats us into the number, Zay singing quietly as he meanders his way back home through the city. The performance is truly stripped, the visuals of the city at night acting more as the star as Zay walks through them. The shots pan through twinkling lights, street art in splashes of color on the brick behind him muted in the night, passing amongst groups of friends and couples enjoying each other’s company and feeling much like the subject of the song – an observer, yet pointedly removed.

As the song continues on, the voices of the rest of the cast ease in although they may or may not be pictured. Drifting away from Zay…

**INT. FOSTER HOME - ISADORA’S ROOM - NIGHT**

Isadora is in her room, headphones on and listening to scales and the notes from the song she’s thinking about performing. She’s trying her hardest to block out everything else and focus, but her foster siblings are being distracting enough. It’s clear she’s growing more and more nervous about the assignment.

**INT. FARKLE’S ROOM - NIGHT**

Farkle is in a frenzy, brainstorming more ideas for the assignment but scrapping all of them. He crumples up another page of sheet music and tosses it to the side of the bed, flopping backwards onto his bed and hiding his head in his arms.

**INT. MATTHEWS APARTMENT - NIGHT**

Riley has finished getting ready for bed, passing by the door to her parents’ bedroom. She thinks about knocking, but ultimately decides against it. She’s not sure she wants to know what has conferred on the other side.

She walks away, avoiding the problem for another day.

**INT. ANGELA’S APARTMENT - NIGHT**

Shawn is getting ready to head out, pulling his shirt back on over his head and reaching for his jacket. Angela comes up from behind him, in her robe, pulling him around to face her. In the serenity of the night, something allows them to be softer than usual.

She takes his face in her hands, pulling him into a soft kiss. Both of them smile lightly, exchanging another one before Shawn starts to leave.

**EXT. SUBWAY STATION - NIGHT**

Zay has made it to his subway stop, rounding out the song. It’s soft, melancholy, permeating the New York evening. Then, he descends the stairs to the tracks below, disappearing in the crowd.

* * *

**EXT. LUCAS’S APARTMENT - DAY**

Isadora approaches an unfamiliar doorstep the next afternoon after school, stepping up and hitting the buzzer pointedly. It’s not the greatest neighborhood, and she looks a couple of times over her shoulder. Somewhere in the building above, a baby cries. A TV runs. A cramped, overcrowded apartment building with residents who can barely afford to live there.

After a long moment, the door swings open. LUCAS FRIAR is standing there, frowning at Isadora. She doesn’t say anything, the two of them having a tacit exchange. It’s clear he doesn’t want her there, and yet she’s there anyway. She’s Dora, and he’s not going to turn her away.

After a moment he rolls his eyes, stepping back and nodding for her to come in. She does so, marching past him. He shuts the door behind her.

**INT/EXT. LUCAS’S BEDROOM / LUCAS’S FIRE ESCAPE - DAY**

Lucas and Isadora are cooped up on his tiny fire escape, just big enough for the two of them to sit in if she stays cross-legged and he stretches his feet into the window. Through the pane, a cramped and uncomfortable bedroom is visible. It’s a mess as typical of any teenage boy, but also because there’s simply so much stuffed into a tiny space, and clearly not all of it is his. His bed is a mattress stacked on unshelved books and crammed into the corner.

It’s a paradox, feeling overused yet distinctly abandoned. The small refuge of a person who hates to be there.

His parents are nowhere in sight. Isadora asks him how suspension is treating him, which he shrugs off and doesn’t really answer. She gets a good look at him – aside from the bruises still healing from the fight at school, he doesn’t look much different. Not in any noticeable way.

For some reason, this prompts the question of his parents and how they took the punishment.

> **Lucas:**  Mama didn’t really care. She didn’t ask a lot of questions. Just double-checked that I could still go back, eventually.
> 
> **Isadora:**  … and your dad?
> 
> **Lucas:**  In Texas on business. So he doesn’t know. Think mama wants to keep it that way. So nothing.  _[ A beat. Then, matter-of-factly. ]_ For now.

Isadora searches for a change of subject. She explains what he’s missed since he’s been gone, which he seems unimpressed with. He doesn’t react much until she notes the assignment for the week and the fact that the techies have to perform too.

> **Lucas:** What? They can’t do that, they can’t  _make_  you perform.
> 
> **Isadora:** Somehow, everyone knew that’s exactly what you would say.

Lucas hesitates then huffs, slouching back against the bars of the fire escape and crossing his arms. Sucks to be so predictable.

Isadora claims that’s the main reason that she’s there. She’s running out of time to figure out the assignment, but she’s totally stuck and can’t concentrate. She thinks that he can help her, to which Lucas is wholly skeptical. But Isadora knows exactly how, getting to her feet and stepping back in through his window.

> **Lucas:**  What –  _what_  are you doing?
> 
> **Isadora:** _[ digging through the chaos, on a mission ]_ I know it’s in here somewhere…

Isadora exhales an exclamation of victory, retrieving an acoustic guitar from the depths of the storage closet / bedroom. No, our eyes are not deceiving us – it’s old, a little banged up, but definitely a working guitar. In Lucas James Friar’s bedroom.

Lucas groans in disdain and Isadora heads back out towards him, already refusing and reminding her that he hasn’t touched that thing in years. He probably doesn’t even know how to use it anymore. She should put it back. Actually, she should smash it and burn the remains. He’s not playing it. He’s not going to do it.

Isadora ignores him, coming back to stand in front of him. She holds it out to him, raising her eyebrows pointedly. Another tacit exchange, holding each other’s glares.

She wins, as she always does. Lucas grunts out a “fine,” taking the axe from her and adjusting his position so he can situate with it.

* * *

**Song Cue ♫ ♪ “Breathin’” as performed by Adam Christopher || Performed by Isadora De La Cruz (feat. Lucas Friar)**

Lucas launches into the rough opening notes of “Breathin’,” simplistic on guitar. It’s clear he’s rusty, but he definitely did once know how to play the guitar and still retains some of that ability. Boy, if the gent isn’t an enigma…

Finally in a setting where she focus, Isadora starts the first verse of the Ariana ode to conquering anxiety. It’s a little breathy at first, a little nervous, but Isadora was correct in her instinct that being with someone she trusts without question would help her push through her hesitancy. When she gets to the first chorus, she locks eyes with Lucas and the two of them exchange smiles. Not a bad way to spend a suspended afternoon.

**INT. AAA - AUDITORIUM - DAY**

Dylan takes over the guitar as the performance transitions to the auditorium, Isadora giving her required rendition in front of the techies. Riley is also present, as an invited guest of the singer. The group watches, soft and proud, as Isadora gives a great performance. It’s clear now that this girl can  _sing_ , even if she opts not to. What potential that has…

* * *

The techies give her resounding applause, Asher and Dave giving a standing ovation. Shawn thanks her and then dismisses the group. Riley gets up and approaches her, congratulating her on a job well done and stating she’s glad she was able to work through the hesitation she was having. Isadora notes offhandedly that she had Lucas help her.

After a moment, Riley ventures gently if Isadora was thinking about him while performing it. Isadora confirms the notion, not thinking much of it. While Riley can certainly empathize, it’s evident that her curiosity as to what exactly the relationship is between Lucas and Isadora is becoming insatiable. She’s always been a little nosy, and for some reason she just continues to find herself more invested in the stakes of what this dynamic might be… just, for some unidentifiable reason…

**INT. AAA - BLACK BOX THEATER - DAY**

The performers are dismissing from their class, everyone gathering their things and heading out. As Farkle stresses to Angela in the background, Charlie and Zay start to reassemble the desks and help clean up. After Farkle storms out, Angela thanks them for tidying up before heading out herself.

Charlie observes how solemn Zay is, pointing out that he sure started out the week with a lot of confidence to look so deflated now. He brushes him off, but when Charlie doesn’t budge and continues to eye him expectantly, Zay finds himself wanting to talk about it. It’s nice for someone to actually be paying him attention.

It’s surprisingly easy to discuss with Charlie. He essentially explains his weird sense of isolation, how even though he is purportedly the most popular student in their grade he feels like everyone is at arm’s length. Riley enters mid-conversation, hanging back as to not interrupt but clearly listening on how it unfolds.

Charlie expresses sympathy and claims he knows the sensation. Zay sort of scoffs, but Charlie really accurately paints a picture of what he’s talking about.

> **Charlie:**  No, really. That feeling where you know you should be living the life, everything is in place for you to reap the rewards, but you just feel… like you’re not really there. Like you’re outside of your own experience and so everything is intangible. Disjointed.
> 
> **Zay:** … yeah. Yeah, I guess that’s it.
> 
> **Charlie:**  Like I said, I get it.

Case in point, Charlie doesn’t have any solutions that will easily fix the problem. But he does state that Zay could’ve asked him to hang out, and he would’ve said yes.

> **Charlie:** I know I’m not as cool as you or Maya, but I think on a good day I can be fun. Especially if you’re desperate.  _[ off Zay’s chuckle ]_  You know, since someone taught me how.

Charlie gives him a playful nudge on the shoulder, patting him on the back before heading out. He locks eyes with Riley as they pass one another, exchanging a smile and nod with her. As she steps in, Zay asks her how much she overheard to which she admits most of it. He’s like eavesdrop much, to which she shrugs sheepishly but doesn’t refute. This is just Riley, you gotta get used to it Zayby.

She asks why Zay didn’t tell her he was feeling all of those things, to which he claims he didn’t want to inconvenience her or anyone else. She argues that they’re friends, so his discomfort or loneliness is never going to be an inconvenience to her, especially if she’s in a position to help.

> **Riley:** You were the first person to show me kindness in this hellscape. You were my first actual friend.
> 
> **Zay:**  I hope that’s not first actual friend  _ever_.
> 
> **Riley:**  I know I’ve been sort of… I’ve been distracted by some other things lately. I’m sorry if I left you behind in the process. I’m going to try and be a better friend, but you have to promise me that you’re going to help me do that. Total honesty.

Zay is charmed, so he agrees. The two of them exchange a hug, Riley brightening and claiming that she already needs his help if he’s willing to give it. She hasn’t completed her assignment yet this week, after all, and she sure could use a duet partner for the song she’s thinking of…

**INT. AAA - BLACK BOX THEATER - DAY**

* * *

**Song Cue ♫ ♪ “FourFiveSeconds” as performed by Rihanna, Kanye West, and Paul McCartney || Performed by Zay Babineaux & Riley Matthews**

Riley and Zay perform a fun and loose rendition of the pop hit, Riley on guitar while the two of them harmonize. They’re up on stools in the front of the classroom, the rest of the performers seated amongst the desks and jamming along. It’s sweet, and watching the two of them sing together and make each other lowkey laugh while performing is the most endearing. Now there is a friendship worth stanning.

* * *

**INT. AAA - AUDITORIUM - DAY**

Class is wrapping up for the day, only one more day in the week for the assignment. Farkle still hasn’t figured it out, running one more frantic idea by Angela who is growing frustrated with how he seems unable to grasp the assignment. She points out that he knows he’s talented, they both do, so why can’t that be enough? Why can’t he let go of the spectacle?

Farkle can’t seem to articulate the reason either, but it’s something deep-seated in that spastic brain of his. So he snaps instead, mouthing off in typical diva fashion. Angela essentially warns him that he better get it together because he’s only got a day left, to which Farkle stomps off yet again. Shawn approaches.

> **Shawn:** Does he realize that each time he tornadoes out of here like that, it loses its impact?

Angela gives him a look. The rapport between them is sharp as usual but a bit awkward, uncertain given how they reconnected and where they stand now. Are they back together? Was it just a one-time thing? It was good for both of them, they both confirm, but going down this rabbit hole again… they don’t know what to think.

And who has time to think, with Lucas and Wyatt both coming back to school next week which is guaranteed to create a whole new host of issues. Who knows what could happen… but still, neither of them purport to regret the choice they made the other night. So it seems they will see what the future holds.

Tentatively, Shawn leans forward and gives her a kiss on the cheek. She smiles, turning away from him as he saunters off. Whatever the future holds, please let it be good…

**INT. MATTHEWS APARTMENT - NIGHT**

Riley returns home, entering the apartment tentatively and not certain what she might find. She’s been out and avoiding it all day, but she had to come home eventually.

Topanga isn’t home, however. Cory is, sitting at the table and nursing a hot chocolate. He looks totally drained, and it’s clear from a glance that something has changed. All that charged up tension that has permeated their home for so long has shifted, but not necessarily in a good way.

Riley approaches, broaching the topic of what happened with caution. After beating around the bush and apologizing for likely embarrassing her in front of her friends (which she brushes off), Cory drops the bomb – Topanga officially filed the papers for a divorce.

Riley is completely floored. Much like Cory, she figured that even if things were uneven or rocky, they would be able to work them out. They always had in the past, after all. They’re Cory and Topanga. And yet, this is the reality they live in.

It’s difficult for Riley to wrap her head around. She shakes her head wordlessly, too stunned to cry or lash out or do much of anything. Although Cory continues to ramble in an effort to make sense of it all, Riley has zoned out, totally lost in her own head. Her whole world was just thrown out of whack. And boy, if the control freak isn’t going to leap out in compensation…

**INT. AAA - BOYS DRESSING ROOM - DAY**

Speaking of control freaks, Farkle is frazzled as he attempts to piece together an assignment last minute. He’s been cooped up in there most of the day, skipping half his classes and spiraling himself into a corner.

Maya enters, watching as he makes a mess of another moodboard that is inherently too flashy to get approved. She pokes fun at him which he’s decidedly not in the mood for, almost downright manic. His hair is practically flying off his forehead from how many times he’s run his hands through it in frustration.

Instead, Maya changes tact and claims she can help him. When he asks what bright ideas she could possibly deliver in this final hour, Maya knocks over his mood board and lets it hit the ground. He’s overthinking everything, she states, and that is what is going to make him fail. Zay was right at the beginning of the week when he said that performing should be about just letting go and freeing themselves, at least at the core. The more pizazz he puts on it, the more he’s just trying to control something that maybe just needs to  _be_.

Farkle is defensive, exclaiming in a huff that when you’re in a house with five other siblings and two tycoon parents you have to be flashy to get your fair share of attention, or even just the scraps. Maya grants him that truth, empathizing although her own experience is different. She points out that in this case, he’s not doing this for anyone else though (well, except Angela). And in this case, they can help each other out.

> **Maya:** Look, let me handle the arrangement, alright? All you have to do is sit there, use that golden albeit screechy tenor of yours, and look pretty. Although you’ll probably need a comb first…
> 
> _[ She reaches up to ruffle his hair. He swats her hand away, eyeing her suspiciously. ]_
> 
> **Farkle:**  Why are you helping me? We don’t do that.
> 
> **Maya:** Well, I still owe you for the tutoring. And I don’t know… I’ve been told performing is more fun with a friend.

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Happy Days Are Here Again / Get Happy” as performed by Glee Cast || Performed by Maya Hart & Farkle Minkus**

So, are they friends? Their cozy and endearing closing rendition of the Glee mash-up says maybe so… it’s a warm ending to an episode that certainly set up lots to unpack as we venture into the second half of the season.  _Your cares and troubles are gone, there’ll be no more from now on…_

Yeah, right.

_END OF EPISODE._


	9. Black, The Color of Techies Scorned... [ 1.07 ]

**Summary for the Chapter:**

> YOU SAY YOU WANT A REVOLUTION – Fed up with their treatment, the techies fight back… by doing absolutely nothing. Attempts to mediate go sour when Farkle and Isadora can’t relinquish control. Riley makes an effort to break the strike, but it may be her who gets broken instead.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://t.umblr.com/redirect?z=https%3A%2F%2Fopen.spotify.com%2Fuser%2Fauthorisasauthordoes%2Fplaylist%2F5R7px9cVwMaSFJQj8osIur%3Fsi%3Dg5BG-Hr4Qyq7OgiTZ0GmpA&t=MjAzZjM3YTQ5MWE0MmZmOWNiYzU4ZTFmYWY1MmM5NzUxYzE4MDU5ZCxGalRsZERMWQ%3D%3D&b=t%3AkDXCOjdyQYrhnuEmlkaYMA&p=https%3A%2F%2Ffriarlucas.tumblr.com%2Fpost%2F184556316482%2Fambition-season-1-first-impressions-pilot&m=1)! )

**INT. AAA - AUDITORIUM - DAY**

With acoustic week concluded and the performers back in full intensity mode, the techies find themselves hard-pressed to keep up with their demands. Over a buzzy, intense acapella, the sophomore performers throw every task imaginable at them with limited patience and even more limited gratitude.

DAVE WILLIAMS is running back and forth backstage with NATE MARTINEZ and DYLAN ORLANDO, attempting to play runner and keep up with everyone’s needs. Dave makes a pointed effort to avoid going near the curtains. JADE BEAMON is in another heated discussion with MAYA HART, CHAI FRESCO, and DARBY WINTERS – that is to say, they’re heated and full of opinions and she’s just trying not to get overwhelmed and start crying.

ISADORA DE LA CRUZ is marching around the stage, trying to get ZAY BABINEAUX or CHARLIE GARDNER to pay attention to her and get the performers to cool it, but they’ve got their own projects to focus on and aren’t very receptive. JEFF MONROE is jogging along to keep up with her, nearly getting clocked in the face by her clipboard when she tosses her arms out in frustration.

FARKLE MINKUS doesn’t help matters.

> **Isadora:**  Does anyone around here have a damn shred of  _decorum_?
> 
> **Farkle:**  Wow, poor little director. Is this really too overwhelming? Doing the basic expectations of your  _job_?
> 
> **Isadora:**  Don’t patronize me, Minkus, you don’t want to see what this “little” director is capable of.

It’s not a very threatening statement in theory, but the way Isadora delivers it gets the point across. Farkle isn’t deterred, but he’s smart enough to back off for now while he’s still ahead.

While they’re running themselves thin, RILEY MATTHEWS watches from the sidelines. She discusses stepping in to help with NIGEL CHEY and YINDRA AMINO, considering they are the three performers with the most technical experience. Riley points out that Lucas was supposed to be back by now. It’s Tuesday, and he was supposed to be back on Monday, but for whatever reason he’s still nowhere to be found.

Yindra claims he’s probably just blowing it off, and WYATT LIVINGSTON, back from his own suspension and clearly not over the bad blood, asks why they should give a shit anyway. He can stay gone for all he cares. Riley holds her tongue as he stalks back into the shadows of backstage, before jogging out to join Isadora.

When she asks if she’s okay Isadora doesn’t even have the bandwidth for a response, and when she asks where exactly Lucas is she’s like “you tell me!” The whole sequence is chaos, and it serves to prove just how hard the techies work on a day-to-day basis and how quickly expectations can pile up on them. The tension doesn’t come to an end until SHAWN HUNTER and ANGELA MOORE call time and dismiss them for lunch, all of the air immediately coming out of the balloon. As the performers disperse, the techies are left dazed and exhausted center stage, sort of at a loss for what to do.

The moment they stop, the whole machine stops running…

**INT. AAA - HALLWAY - DAY**

Riley steps out with Charlie and Zay, the three of them commentating on how intense it’s gotten in there. Not just content wise, but between everyone. Kind of almost feels like there’s no room to breathe. Riley says it’s funny they say that as if it’s not  _always_  like that.

> **Zay:** _[ with a blithe shrug ]_  Welcome to Adams.

**EXT. AAA - DAY**

Suffice to say, we can tell there’s a big storm coming. The winds of change are imminent, and from the way a familiar pair of big black boots are stomping up the steps towards the school, it may very well be en route in the form of a very grumpy and very sarcastic hurricane.

**INT. AAA - ATRIUM - DAY**

The boots continue to make their trek through the halls, squeaking against the pristine floors of AAA and leaving dust in their wake. Over the visuals, the techies discuss how exhausted they are and how they don’t know how they’re going to keep up the rest of the year like this. There’s just no way. Especially not without their most aggressive teammate.

**INT. AAA - AUDITORIUM - DAY**

Thus, when LUCAS FRIAR walks through the house doors of the auditorium at the late lunch hour and finds his usual crew crashed in the back seats, he is  _immediately_  accosted by Dave who tackles him with a bear hug.

> **Dave:**  Thank God you’re back, we’re  _dying_!

Lucas takes the hit, allowing Dave to hold onto him like a life preserver. His expression conveys how weird this display of affection is for him, and when he locks eyes with the rest of them over Dave’s shoulder the message is clear –  _what the fuck?_

Baby, let the games begin.

**_Cue title sequence._ **

**INT. AAA - AUDITORIUM - DAY**

The techies have resettled on the stage, standing and sitting around in a semi-circle as they relay how hellish the last week and a half have been. They don’t think it’s just because he was gone either – the performers treatment towards them is just rotting more and more with time because they’re not learning any differently.

Lucas paces as ASHER GARCIA explains the last day and a half in particular, shaking his head at how bad things have gotten in his absence. Asher lays it out point blank – no one respects them, no one listens to them, and no one really cares about what they do. And that’s frustrating, because as Isadora points out, if they weren’t there the entire production would fall apart.

It’s that statement that seems to strike something in Lucas. He hesitates, thinking for a moment. Yes, things  _would_  fall apart if they were to stop showing up the way they always do… the wheels in his head are turning…

* * *

**Song Cue ♫ ♪ “Thnks Fr Th Mmrs” as performed by Fall Out Boy || Performed by AAA Sophomore Techies**

Asher syncs with his brain wave first, gleaning some of that inherent rebellious energy and launching into the opening verse of the classic angry rock anthem. Dylan joins in at the end of the phrase, leaning over Asher’s shoulder and bumping him playfully.

Lucas doesn’t sing – because, come on now – but he doesn’t discourage them either, raising an eyebrow and smirking as he continues to pace. Still clearly brewing with ideas. As the other techies start to get on board and get the vibe of what might be going on, the tension in the music builds. Oh, yes, Lucas is back, and the world is never going to be the same…

**INT. AAA - HALLWAY - DAY**

Thus, the techies burst through the stage doors and into the school, belting out the chorus with a true power that only comes from not giving a fuck anymore. They’re done, they’ve had it, and they’re not taking anymore bullshit. It’s a rare sight to see the techies doing any sort of group effort that remotely resembles performing, even in such a loose arrangement, but gee is it  _fun_.

Lucas and Isadora lead the charge through the halls. The group of them are a tornado, leaving chaos and shock in their wake. The choreography is simple but energetic, exactly the kind of thing you’d expect from a march of protest thrown together in a bout of restless, rebellious energy. Dave knocks a binder out of Wyatt’s hands. You get the idea.

Reaction shots of the performers watching them as they parade through the halls makes it very clear how unprecedented this is. Isadora takes the solo on the slightly slower bridge, before we bring it on home with a flourish.

* * *

So it’s settled. The techies are officially revolting.

**INT. AAA - JACK’S OFFICE - DAY**

This, as expected, does not go over well from first glance. Lucas is back in Jack’s office once again, which the latter is clearly none too happy about.

Lucas, on the other hand, looks pretty pleased with himself. He looks a little too comfortable sitting in that chair opposite the principal’s desk, as if its his to own. He’s relaxed, slouched and outwardly agreeable and not the least bit worried.

> **Jack:**  It’s been an hour. You’ve been back for an hour, and yet you’re here across from me yet again.  _[ off Lucas’s shrug ]_  You realize you were supposed to come back… yesterday, right?
> 
> **Lucas:**  Oh, yeah. But I was having  _such_  a good time having Dora nag me over missed homework and being ignored by my parents that I thought, you know, how about another day.

The sarcasm aside, Jack jumps to the subject at hand and questions what exactly Lucas thinks he’s doing getting all of his classmates riled up like this. Getting himself into trouble is one thing, but pulling everyone into such a scene?

> **Lucas:**   _[ with a scoff ]_ As if the performers don’t make a scene out of everything every single day?

Jack tries to argue the point, but Lucas is on a roll. He states that this has been a long time coming, and they all know it. He’s no leader – he would never claim that – he’s simply the spark. It’s his friends’ anger running this engine, not him.

True as this may be, Jack is stuck between a rock and a hard place. Although he gets where Lucas is coming from, he can’t just openly condone a full on rebellion.

> **Lucas:** So suspend me. You’ve done it once, you could do it again. But you know, I don’t think you will.
> 
> **Jack:** And why’s that?
> 
> **Lucas:** Because you and I both know that we’re in the right here. No one cares about the technical students working their asses off, and we’re sick of it. It’s just like academics, constantly taking the back seat. Only now, we’re saying not anymore.

Jack really is running out of arguments. And it’s clear from how impassioned Lucas is that he’s certainly not putting down the sword any time soon. The only thing worse than a rebel without a cause is a rebel  _with_  one.

> **Lucas:**  This is how all great rebellions begin, Principal Hunter, sir. I think you’ll want to be on the right side of triple A history.  _[ Rising to stand. ]_  It’s like they say, you know. “If we burn, you burn with us.” That’s classic literature, right?
> 
> **Jack, deadpan:**   _The Hunger Games._
> 
> **Lucas:** Same difference.

Lucas turns to go. Jack gives him a look, scoffing.

> **Jack:**  I didn’t dismiss you!
> 
> **Lucas, already out the door:** _[ with an offhand wave ]_ We’ll see each other soon enough, I’m sure.

Jack sighs, rubbing his temples. He glances towards the door where Lucas left, wondering how much trouble this week is going to cause. But also wondering, a little bit, if maybe his most difficult student is on to something. As the orchestration of “Yorktown (The World Turned Upside Down)” floats in…

**INT. AAA - AUDITORIUM - DAY**

**Song Cue ♫ ♪ “Yorktown (The World Turned Upside Down)” as performed by Hamilton Original Broadway Cast || Instrumental**

Meanwhile, rehearsal without the techies is, of course, much harder than the performers ever realized. They’re attempting to practice the choreography for “Yorktown,” which Zay has been fighting for them to do for weeks and finally succeeded in getting into the syllabus. But there’s no good lighting, and they’re all just in their usual workout clothes because no one has presented costume ideas. They’re playing the music off of someone’s phone because they don’t know how to work the overhead speakers and no one has been in communication with the orchestra students.

Naturally, the performers are very frustrated with this state of affairs. After unsuccessfully running through the number and ending with Farkle running into Maya and nearly knocking half of them over, Zay snaps at them to get it right. Farkle claims he couldn’t hear the beat because their current sound system is garbage. Impatiently, all of them turn their attention to the audience.

The techies are sprawled out leisurely in the front and center section of seats, well within plain view but making no efforts to do… anything. Isadora is sketching storyboards for a short film. Lucas has his feet up on the back of the row in front of him, arms stretched behind his head.

> **Zay:** Hey, techies, pardonne-moi. _[ off their amused expressions ]_ Yeah, hi. Could you all get up here and maybe, I don’t know… do your jobs?
> 
> **Lucas:**  I don’t know… I don’t really  _feel_  like it.
> 
> **Maya:** Who the hell let you back in here? Honestly.

This sparks a group-wide argument, both sides of the feud stepping up and launching into complaints about the other half. Choice words are thrown in either direction, but it’s also a little bit funny.

> **Dylan:**  You don’t even know our names!
> 
> **Farkle:**  Sure I do.  _[ pointing to Asher ]_ Thing 1.  _[ pointing to Dylan ]_ Thing 2. _[ pointing to Lucas, with vitriol ]_ Jackass –

The snaps continue until Shawn and Angela come to break them up, sending them to separate work spaces until the end of the day. The techies don’t seem miffed at all by this change of pace, but the performers are ticked. Riley watches all of them disperse, eyeing the new tension and bristling with the urge to make it right…

**INT. AAA - ERIC’S OFFICE - DAY**

Which she states the minute she’s in ERIC MATTHEWS’ office after school. She tries to get the read on what’s going on from him while expressing her own perspective, all while trying not to be too openly clear on what may be motivating her. Sure, she wants the angst at school to cease for once, but she’s also still reeling with the news of her parents and desperately needs to fix something. To put something back in the order the way it’s supposed to be.

Eric states that according to Jack, this problem isn’t going to just go away. It’s going to take both sides coming to the table to make this nonsense come to an end, a proposition that feels downright impossible. Riley though is like, okay, workable. Off Eric’s surprised reaction, she hastily begins throwing out her reasoning. Speaking it into existence, as if that will guarantee it to be true.

> **Riley:**  Really, I think I can make it happen. At least getting everyone to the table. I’m good friends with Isa now, and Lucas and I…
> 
> _[ She’s not sure how exactly to describe the two of them. She hesitates, searching for the words. ]_
> 
> **Riley:**  We dabble. In one another. Now and then.
> 
> **Eric:**   _[ confused and a little bit wary ]_  And that means…?
> 
> _[ A beat. Riley realizes the odd ways her phrasing could be construed. ]_
> 
> **Riley:** Never mind! Never mind, I don’t know what I’m saying. But the point is, I can fix it. Let me fix it.

Still seems like a long shot, but Eric isn’t going to turn down assistance. He grants her the best of luck, willing her to do whatever she thinks needs to be done. Riley exhales, brimming with confidence that only a new found purpose can bring.

**INT. AAA - AUDITORIUM - DAY**

Only this task is going to be much easier said than done. As Riley tries to go and have a neutral chat with the techies the next morning, she finds herself completely barred from their usual hangout in the back of the auditorium. They’re hidden away in the booth, and Dylan and Dave are blocking the stairs like the royal guard.

The two of them explain that there has been an embargo placed on all techie and performer relations. No communication allowed. Riley points out that that seems somewhat counterintuitive to negotiations, but Dave and Dylan are adamant.

> **Riley:**  But I’m your friend?
> 
> **Dave:**  NO EXCEPTIONS!

Perhaps this operation will be a little more complicated than anticipated.

**INT. AAA - BLACK BOX THEATER - DAY**

Farkle is back in his worst form, demonstrating his obsessive and diva-like tendencies in an argument with Angela. He laments how the techies clearly aren’t doing their  _one_  job, and it’s totally screwing up  _his_  world order. Can’t they do something about this? There has to be something. Like threat of expulsion. Or corporal punishment.

It’s evident that Farkle is certainly going to be the most difficult performer to convince that techies like… deserve rights. Angela claims that she understands his frustration, especially given current circumstances. But she is not the person he should be negotiating with, and has no power over what the technical students do or don’t do.

Farkle makes a snide comment about how she likely has  _some_  pull with Shawn considering how  _that_  has developed over the last few months, but he makes a quick escape before Angela can berate him on it. Despite the rude nature of the statement, he does have a point. Perhaps there is more Angela could be doing…

**INT. AAA - CORY’S CLASSROOM - DAY**

Riley visits Cory during lunch, as the cafeteria is way too tense to enjoy a meal in right now. As she pulls up a chair and settles in across from him at his desk, she can’t help but notice what he’s reading through as he eats. Divorce papers.

It’s chilling to see them in actuality, right in front of her. She probes the question of whether or not this is really happening, to which Cory is like “I’m afraid so.” He kind of talks to her about how sometimes things just don’t work out no matter how badly you want them to – also attempting to give a pep talk to himself – but Riles doesn’t get the intended message.

No, she’s in repair mode at the moment, so all she can glean from the conversation is that she needs to work even harder to make things run right. She needs to dig her heels in and fight until everything is back in order and back in control, and all of that is on her shoulders. Riles… take a nap, honey.

**INT. AAA - AUDITORIUM - DAY**

_AAA Confessions_  is back for more, featuring a post about Lucas for the first time. It essentially gripes over how bullshit it is that Lucas can get away with so much and  _still_  continue to come back and do absolutely nothing, before going on a very unkind tangent about how pathetic he is. It’s clearly submitted by Wyatt who has his axe to grind, but it’s harsher than anything the AAAC has ever posted before so it’s not aiding the tension at all.

The techies are examining the post over lunch in the auditorium, nervous about how Lucas is going to react to it. But when he descends from the booth and they show it to him, he doesn’t even blink. Outwardly, he’s cool as a cucumber. He claims he doesn’t care.

> **Dylan:** Are you sure, man? I mean, this is like… brutal.
> 
> **Lucas:** Believe me, when I care about something, you’ll know.

Not sure what the hell  _that_  is supposed to mean, but Dave pushes past it anyway. He comments that their revolt is clearly going well, because the performers are miffed. The others agree, but Lucas doesn’t seem satisfied. He argues that they’re going to need to kick it up a notch if they actually want this movement to get any traction.

Isadora, smart as she is, suggests that they give the performers a taste of their own medicine. When Lucas prompts her to elaborate, she simply states that part of the reason it’s so easy for them to ignore their hard work is because they’ve never had a pinch of what it’s like to be on the other side of the apathy. Now this, this sounds interesting…

**INT. AAA - AUDITORIUM - DAY**

And thus, the techies do exactly that. At the next rehearsal for “Yorktown,” the performers struggle to work their way through another fumbling rendition. In the midst of the number, while they’re all crashed in the seats, Lucas and Isadora exchange a nod before getting up and gesturing for the others to do so as well. It’s a technician walk-out.

Farkle is the first to notice, immediately being torn from the rehearsal and focusing on them instead. He marches to the front of the stage, demanding where the hell they think they’re going.

The techies stop in the middle of the aisle, turning around and feigning surprise.

> **Lucas:**  Who, us?
> 
> **Maya:** Yes, you. What the hell are you doing?
> 
> **Isadora:** Oh, well, we were just leaving. Actually.
> 
> **Charlie:** _[ stunned ]_ Leaving? You can’t do that. They can’t do that, right?
> 
> **Lucas:** Oh, it’s so funny, because I think we are. I mean, my legs are working, at least.
> 
> **Isadora:** Yeah, you all clearly don’t need us. So I think we have better things we could be doing with our time.

They continue to head towards the exit. Angela watches them go, getting the sense that this problem is only going to get worse. Farkle snaps, obviously stressed at this turn of events.

> **Farkle:**  You can’t ditch us! Who is going to put all this shit together?
> 
> **Isadora:** Think you can handle it. It is just  _one_  job, after all.
> 
> **Zay:**  But we don’t know how –
> 
> **Dave:** Sucks for you, huh?

The techies laugh, parading out of the auditorium with Lucas leading the march. The performers are clearly  _pissed_. Riley watches them exit, shell-shocked and already grappling with how she’s going to fix this new development.

**INT. AAA - SHAWN’S OFFICE - DAY**

Angela enters Shawn’s office in a flurry, immediately launching into an impassioned explanation as to how this current state of affairs is not good for any of them and they must work together to find a solution on how to fix it. Shawn, to her relief, is completely on board, gesturing for her to take the chair across from him. She sighs, relaxing and settling in. This may be easier than she thought.

Only not quite so. Because while Angela was expecting him to just go along with her and get things to go back to the way they were, Shawn believed that Angela came to brainstorm how to improve the situation and meet in the middle. Shawn is on the side of his students, here, and isn’t just going throw them back under the bus.

The discussion quickly spirals into an argument, both of them clearly operating on behalf of their own students. It brews up some old resentment between the two of them that remains untreated based on how they view one another’s students – and in theory, one another – making them question if rekindling their relationship is actually the best idea. What are they even doing? Are they destined to fall right back into the same traps all over again?

The conversation deflates from the anger, but ends on uncertain terms. And no progress is made in the negotiations for either side. The two of them agree that in this instance, they might need a neutral outside party to step in and help mediate.

**INT. AAA - ERIC’S OFFICE - DAY**

So Shawn and Angela go straight to Eric. They lay out the situation, which of course he already knows, and ask for him to step in and do some peer counseling. Eric heartily agrees, but considering the scale of this issue, it’s going to take more than just the sit-down-and-chat approach. No, they’re going to need to get creative to solve this problem.

Luckily, he has just the technique.

**EXT. AAA - REAR PARKING LOT - DAY**

Eric hands a loaded water balloon to Zay, who stares down at it and then gives him a look.

> **Zay:**  Paintball?
> 
> **Eric:** Not paintball. Paint  _balloon_.

As we ease out, the scale of the event becomes clear – all of the students have changed into plain clothes, and are wearing pseudo tactical vests as if they’re playing paintball. Only they’re using balloons filled with paint instead of guns, because this is America and even the thought of gun paraphernalia on school property… bad. But balloons! Very fun.

The students are standing on opposite sides of the stretch of parking lot, old set pieces and cardboard having been set up as obstacles and coverage. To start, they’ve been mixed into groups at random rather than along techie / performer lines. As Eric explains it, the goal is for them to engage in a competitive activity that will encourage them to work together towards a common goal with people they don’t normally work with, and get out their aggression in a safe and controlled fashion.

The rules are simple – the team to survive with the least paint-covered member once everyone else has been hit is the victor.

* * *

**Song Cue ♫ ♪ “Come Out and Play (Keep ‘Em Separated)” as performed by The Offspring || Performed by Zay Babineaux & Charlie Gardner**

Zay and Charlie perform this grungy track while working together to survive the war, serving to underscore the duration of the sequence. They fist bump to kick off the song, before the paint balloon battle begins.

Although the intent behind the mission is good, the concept doesn’t execute well if the players aren’t fully on board. Despite being given distinct teams, the war quickly falls back into party lines, the performers ganging up on the techies while the techies fight to hold their own. They’re heavily outnumbered, but they’re angry and ready to fight back. Let the  _real_  games begin!

Students on both sides get lobbed with paint, making for some fun and colorful slow-motion shots. Maya tries to protect her hair as she avoids blows, but one splatters her right across the face anyway. Farkle gets cornered by techies and gets hit with a barrage of paint, totally smothering him in neon pinks, yellows, and blues. Poor, poor little rich boy.

Zay and Charlie actually work impressively well together as a tactical team. They move back-to-back, cover one another, and make calls just through nods or vague gestures. They’re the key offensive force on the performer side, basically getting a hit in on every single techie throughout and making their win seem inevitable.

Considering the numbers game, the techies are getting throttled. Isadora, already covered in paint but not out of the war, takes out her rage by throwing paint at as many passing performers as she can possibly manage with a war cry that would make Athena herself proud.

The one factor they have going for them is Lucas. Dave and Asher basically act as human shields for him, allowing him to navigate the field and get hits in on anyone who Isadora didn’t already pummel with paint. There’s some wonderfully dramatic slow-motion shots of Dylan leaping into the air in front of Lucas to take a paint balloon straight to the chest… oh, the war-torn drama…

So while the performers have the sheer numbers, it’s clear that the technicians have a greater understanding of how they operate as a team. So they may just take this victory in an upset yet.

The factor keeping the performers going is Riley. She’s not particularly good at the paint throwing, but she’s an expert at dodging and just trying to stay out of trouble, mostly because she’s scared of getting hit. So it essentially whittles down to her and Lucas being the only two left dry and paint-free, meaning any one hit could toss the victory in one team’s favor.

* * *

As the battle reaches its climax, it comes down to one moment between Riley and Lucas. They run into one another at the center of the lot, the paint carnage all around them in a wonderful, grisly display of color. Lucas is loaded with two balloons, and Riley has none to defend herself with. They lock eyes, Riley’s wide and uncertain.

For all intents and purposes, this seems like the endgame. In a normal situation, in the old way of the world, Lucas wouldn’t hesitate. But it’s Riley, and she’s been changing the world since she showed up at AAA. So, for whatever reason, he does.

All it takes is that fleeting second of hesitation to flip the stakes. The tension between Riley and Lucas is shattered as he gets hit on both sides, one balloon landing on his torso and the other getting him in the face and splattering blue paint all over him. A final kill maneuver, executed expertly by Zay and Charlie from both sides.

And so the techies lose the battle. The performers erupt into cheers, patting one another on the back and touting their victory. The techies, frustrated and upset, glower. Dylan pulls Asher to his side, trying to get the paint out of his hair. Zay yanks Charlie into a victory hug, and Charlie just about has an aneurysm.

Lucas blinks, reaching up to wipe the paint from his eyes. Riley is mortified, starting to stammer out breathless apologies in utter horror. She reaches forward in an effort to wipe paint from his face… only Maya pulls her back and into celebrating with the other performers.

In an unexpected outburst, Jade is the first to snap on behalf of the techies. Considering her usually mousy and shy demeanor, this is relatively shocking.

> **Jade:** This isn’t fair! We weren’t even supposed to be playing along these teams, but they just did whatever they wanted like they always do and won yet again.
> 
> **Dave:**  This is bullshit!
> 
> **Maya:**  Oh, come on, guys. You don’t have to be a sore loser.
> 
> **Isadora:** Oh, you wanna be sore? I’ll give you sore –

Dylan and Asher dart forward to hold Isadora back and keep this from escalating into a full-on brawl. Angela and Shawn sense the impending eruption and basically send each team somewhere different to clean up, the techies staying outside while the performers retreat to the dressing rooms.

They turn to Eric, who is clearly bummed his technique didn’t work. But hey, he tried his best. He offers them a plaintive shrug. Back to square one…

**INT. AAA - GIRLS DRESSING ROOM - DAY**

The girls revel in their victory as they clean paint off of themselves, laughing about how badly they creamed the techies and how nice it felt to finally just let loose on them. Riley doesn’t find the conversation amusing, and actually speaks up against the rhetoric. She claims that they just made everything worse, so congratulations. She hopes they’re really pleased with themselves.

But now, she has to clean up their mess. She storms out, still covered in paint. The others watch her go, sort of laughing awkwardly at the tirade but with the lingering sense of doubt that maybe she isn’t wrong.

**INT. AAA - BACK ENTRANCE - DAY**

Riley heads towards the back parking lot to find Lucas and Isadora, hoping for another chance to talk things through with them without all the colorful warfare. She spots the techies just outside the building cleaning up, starting to head towards the doors to join them but hesitating when she gets a better look.

Dylan is using the heavy duty hose to clean off Dave and Asher, but Riley is focused on Lucas and Isadora. They’re seated on the benches closer to the doors, and Isadora is painstakingly working to wipe the paint off of Lucas’s face.

It could be nothing, just pals being pals, but after everything Riley has observed between the two of them and how Isadora is  _willingly_  touching his face to help him clean up she’s like… okay. I’m clearly inserting myself in something I shouldn’t be. I don’t belong out there. What am I even doing? It’s nothing, all this is nothing…

But it doesn’t feel like nothing. And emotions are high because tensions are high, so the revelation sort of feels like the end of the world.

* * *

**Song Cue ♫ ♪ “Cry And You Cry Alone” as performed by Lesley Gore || Performed by Riley Matthews**

As Riley saunters away from them and back down the hall, she dejectedly sings the 50s crooner while trying to keep her emotions in check and not overreact. But she’s a theater kid, and being melodramatic is in her bones.

**INT. AAA - HALLWAY - DAY**

She makes her way through the halls, lamenting how foolish she was to let herself get close to the techies, especially Lucas, when he’s evidently so much trouble – for everyone else and for her heart. The whole thing is even more endearing and ridiculous considering she’s still paint-splattered.

**INT. AAA - AUDITORIUM - DAY**

As the song progresses and the other sophomore performers take over the chorus, it’s a brand new day. Everyone is clean but not in much better spirits. Riley sits on the edge of the stage and watches forlornly as Isadora and Lucas work together to scheme with the techies. So close, and yet so far away.

Rounding out the final chorus, Riley falls back onto the stage and stares up at the catwalk and lights above her, inviting the world to laugh with her rather than cry alone as the song states. Oh, Riles, you wonderful little dramatic hooligan.

* * *

Although Shawn has managed to wrangle the tech students back into the theater for class, it’s not much of a better scenario than before. Now they’ve taken to heckling, making the divide between them far more pronounced than before. Given how cynical and grumpy they are on the daily, they make excellent hecklers.

> **Lucas:**  Boo, get off the stage!
> 
> **Riley:**   _[ whipping around, giving him a glare ]_
> 
> **Lucas:**  (:

Isadora makes a snide comment and Farkle is about ready to pop off, launching into a fit and starting to rattle off some not-so-nice things. Maya pulls him away and gets him to back off, redirecting his focus and trying to keep the whole situation from imploding. It’s a vivid indication of how Farkle reacts when he feels like he’s being unfairly persecuted and put under pressure… noted. Maya declares they’re taking five.

**INT. AAA - BOYS DRESSING ROOM - DAY**

All the performers are assembled in the space, sans Nigel, Yindra, and Riley. While they embark on a potential quest of their own, the rest of them vent freely about how unfair this whole situation is and how overdramatic the techies are being. And they think  _they’re_  melodramatic, well, they’re certainly proving their own ability to be so.

Zay is done with the theatrics, weirdly irritated at the whole group of them. He snaps at all of them, stating  _everyone_  is being dramatic and it’s so stupid, because all they’re doing is wasting rehearsal time. And of course, it’s the one week where they’re doing a number he actually cares about. He storms out, leaving the room a little bit stunned.

Maya rouses them from the off beat, claiming that this is all part of the journey and they’re going to have to stick together if this drama is going to endure. They’re on the same team, and for once they need to band together and really act like it.

* * *

**Song Cue ♫ ♪ “Team” as performed by Lorde || Performed by Maya Hart (feat. AAA Sophomore Performers)**

Maya leads the group in a groovy and sharp rendition of the Lorde hit, making for a fun and low-intensity break from the tension of the episode as they dance around in the dressing room together. So, there!

* * *

**INT. AAA - AUDITORIUM - DAY**

Dylan and Dave are still gatekeeping as Nigel and Yindra approach – the two performers outside of Riley who dabble in technical arts and thus have a good showing and rapport with them. They claim they have a “meeting,” to which the bodyguards exchange subtle eyebrow raises before backing up to let them through.

Nigel and Yindra exchange a look. Boy, the theatrics. Then, they make their way up the stairs towards the technician’s booth.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Lucas and Isadora have set up camp in the booth, using it as their base of operations. Isadora is pacing, Lucas seated in his usual rolling chair by the soundboard. Asher is operating as their secretary, taking notes as they throw out ideas. The others are seated further back into the space.

They cease their discussion as Yindra and Nigel enter, Lucas turning to greet them. They explain that, as medians between the two worlds, they have come to hear what exactly it would take for the techies to come to the table and start figuring out negotiations on how to fix this. It’s chaos, and it’s not doing good for any of them. Lucas starts off playing hard to get.

> **Lucas:**  Who said we were interested in ceasefire? I’m kind of enjoying a little bit of chaos. Spices things up. Don’t you think so?
> 
> **Yindra:** You are enjoying this way too much.
> 
> **Nigel:**  Yeah, don’t let anybody ever tell you you’re not capable of being theatrical, Friar.
> 
> **Lucas:**  (:

Isadora gets the conversation back on track, agreeing to meet with the performers and have a non-confrontational open dialogue – but  _only_  if they can get the most important (and demanding) performers to be present. Nigel and Yindra state this is a hefty challenge, but they’ll see what they can do. If it works out, Isadora states, they’ll send details on where and when.

**INT. AAA - CAFETERIA - DAY**

Yindra and Nigel share this new development with said most demanding performers at lunch. Charlie is all for it, but the actual two in questions – Maya and Farkle – aren’t sold. In fact, Farkle vehemently vetoes the idea. He claims they’re just toying around with them like business deals he’s seen his father have to negotiate, and he’s not taking orders from them.

Maya isn’t convinced either, but she’s also aware of how tired everyone is getting of the tension, herself included. She barters with Farkle that the two of them should just go to at least have the conversation, and they have the right to back out at any time. Farkle considers, but doesn’t give a definitive answer.

> **Nigel:** Remind me when it was that I dropped out of high school and entered a courtroom drama? Because I don’t recall making that decision.

**INT. AAA - AUDITORIUM - DAY**

Riley has forfeited her lunch hour to take one last crack at getting her own negotiation in, finally able to catch Lucas alone. She follows him through the stage doors and onto the stage, pleading her own case and attempting to appeal to his softer side in an effort to call off the strike. She knows it exists, she’s seen it before, she just has to figure out how to elicit it from underneath all that anger.

He humors her as he makes his way down the stage and towards the back of the auditorium, tidying up small details as he goes. It’s clear that even with the current strike in progress, he’s is still instinctively protective of the place.

Riley opens by checking in with how he’s doing after the nasty confessions post about him. When he shrugs it off, she takes the topic opportunity to broach a slightly different subject.

> **Riley:** Just out of curiosity… how, um… how often do you check the page?
> 
> **Lucas:**  Never.
> 
> **Riley:**  Oh! Oh, that’s great. You know, good for you. That’s good. I just, um, you know it’s said some… interesting things about me lately.
> 
> **Lucas:**  Right.
> 
> **Riley:**  And I just wanted to clarify that they aren’t, you know, true. The things said. About me. And what I may or may not be doing. Or who I may be – it’s false. It’s not true. All of it. False.
> 
> **Lucas:**  … okay.

That awkward exchange aside, Riley plows onward in her mission to end the revolt. She tries to get Lucas to call it off, pointing out he is the one who definitely has the power to make it happen.

> **Riley:**  You’re their leader.
> 
> **Lucas:** You’re wrong. That’s Dora.
> 
> **Riley, diplomatically:** I am not one to ever dispute the notion that Isa is amazing, in many aspects. And she may be the face of the operation, but you, you’re the engine. You’re what motivates them.

Lucas hesitates, actually listening to what she has to say. Riley seizes this opportunity, trying to convey as genuinely and passionately as possible just exactly how important he is.

> **Riley:**  They look up to you, I mean, you’re the one they march for. They take comfort in you, you  _inspire_  them. And that’s certainly not nothing.

Lucas is moved by the speech, despite how good he is at concealing it. And although he acted as though he didn’t care, it does help to combat some of the negative feelings the confessions post instilled in him. Not to mention, Riley is so sincere, and gosh if she isn’t so damn cute… for a moment, it seems like he may be weakening…

But no. He’s not calling off the rebellion.

> **Lucas:**  I appreciate the sentiments. But I’m not ending the revolt.
> 
> **Riley:** But –
> 
> **Lucas:** This is our one chance to change things. For us and for all the techies that are going to come through these halls after us. I can’t just give that up. No great moment in history ever happened because the fighting party put up their hands and surrendered.

He steps up to walk past her towards the booth, hesitating on the step below her. Mirroring their stand-off in 1.02, only far softer this time around.

> **Lucas:**  I’m sorry, Riley. But I’m not throwing away our shot.

He leaves her there to stew in it, frustrated that she can’t seem fix yet another broken entity in her life. She waits until he’s gone behind the booth, huffing and jogging back down the stairs.

**Song Cue ♫ ♪ “Another One Bites the Dust” as performed by Queen || Instrumental**

**EXT. AAA - BACK PARKING LOT - NIGHT**

The same scene of the battle, the asphalt still splattered with paint residue and eerie in the glow of the street lamps. Maya and Farkle are there, dressed in their best “shady showdown” attire and anxiously peering out into the night. Riley and Charlie are also present. Farkle snaps that they’re late, to which Riley assures him that they’ll be there. She knows they’re not just going to blow this off.

And they do not. A few moments later Lucas and Isadora roll up with Dylan and Asher in tow, hopping out of Dylan’s jeep and making their way towards them. They are also dressed in their black leather best, but the whole situation is like… a little bit ridiculous. Like, it  _should_  be really intense and shady, but it’s just them all standing around in the empty school parking lot at 9PM.

Lucas and Isadora step to Farkle and Maya, sizing each other up and trying to figure out how this conversation is supposed to go down. Dylan and Asher mirror Charlie and Riley, hanging back as reinforcements only if needed.

> **Lucas:**  What, no Zay?
> 
> **Charlie:**  I texted him. He just said… _[ reading from his phone ]_ ‘white nonsense.’
> 
> **Isadora:**  Tell him I said offended… but true.

The four of them discuss the problem and their terms, the techies explaining their desire for like… basic decency and a little respect, while the performers have arguments of their own to make. It’s clear from about the first minute in that this meeting of the minds likely isn’t going to go anywhere productive. They’re just too polarized.

While everyone expects Lucas to be the one to blow everything up, it’s actually Isadora who loses her cool and derails the negotiations. She provokes Farkle with snide remarks until he lashes back at her, totally disrupting the limited productivity of the meeting and threatening a full-on scrap if things go any further.

It’s a stalemate, and no negotiations will be made today. The revolution wages on. Riley decides she definitely needs to chat with Isadora, maybe even more so than Lucas.

**INT. MINKUS HOME - DAY**

Farkle is up late doing homework, still awake when STUART MINKUS comes home after a long day of work. From the way Farkle perks up when he enters and enthusiastically greets him, it’s clear how much he cares about the attention and approval of his father. In fact, there’s the distinct sense that part of the reason Farkle is so extra at all is because he’s desperate to get the focus of his very busy and very distracted corporate leader of a dad.

Stuart is happy to see him and settles down to chat with him for a moment, but he asks why on Earth he’s still awake. Farkle offhandedly claims that an unexpected meeting pushed back his homework time, and it was somewhat of a waste anyway. After a few brief words, Stuart starts to go but Farkle grasps at a way to keep his attention, asking him for advice.

His dad claims he won’t be much help with the performing stuff, but Farkle lies and claims it’s a… business issue. He then lays out the situation going on at school but in theoretical marketing terms, explaining it like a business negotiation gone awry rather than two sides of the performing arts world going to war. He asks his father how he would handle the situation.

When Stuart expresses that he would take the diplomatic approach and attempt to go to the table to get the best deal for all parties involved, Farkle seems apprehensive. Doesn’t that not end up with the best deal for him? Stuart goes on to explain his business philosophy about how you have placate all parties to get an effective machine running, but it just seems difficult for Farkle to grasp.

Stuart kisses the top of his head in a goodnight gesture, telling him he’s proud of him even though Farkle is sure he couldn’t say what for.

* * *

**Song Cue ♫ ♪ “Control” as performed by Halsey || Performed by Farkle Minkus**

Not satisfied with how that conversation turned out and not sure why he can’t seem to let go of his perception of the situation anyway, Farkle launches into a haunting and emotional rendition of “Control.” It’s one of the first clear expressions of his… questionable mental health, and displays part of what he’s constantly inadvertently taking out on the techies.

Interesting…

* * *

**INT. AAA - JACK’S OFFICE - DAY**

Jack has called in Shawn and Angela to discuss how the techie and performer feud is progressing. It’s the end of the week, and he’d like to know what they think is the next necessary step. They claim that both of them are on board to make changes, but they’re worried about the mental ecosystem of some of their… touchier students. That’s what is causing the blockade, and they’re not sure how to navigate it.

As Jack reiterates, they need all parties to be willing to come together for this treatment to be at all effective. He states that they better do it fast, and whenever they’re ready he’ll be here and ready to mediate.

**INT. AAA - BOYS DRESSING ROOM - DAY**

The drama continues, the male performers discussing how this whole drama has really lasted an entire week. NICK YOGI wonders if it’s ever going to stop, and Wyatt makes more bitchy commentary about how if they had just expelled Lucas like they should have ages ago, this never would’ve happened.

Zay continues to roll his eyes, fed up with all of the pettiness. He wishes they could just focus back on rehearsal. He excuses himself pointedly, Farkle hesitating before deciding to investigate and following him out.

**INT. AAA - AUDITORIUM - DAY**

Farkle traces Zay’s footsteps to the behind the curtain area of the back of the stage. Zay is practicing the routine by himself, clearly passionate about it even though it got totally derailed by the week’s events.

Understanding at least the notion of using rehearsal as an emotional escape, Farkle approaches Zay and tries to get him to talk about what his attitude is all about. He questions why he blew up at the rest of the performers the other day, to which Zay is like,  _you_? Asking  _me_  about diva meltdowns? Please. Farkle admits his own proclivity for theatrics, but points out that Zay isn’t like that. In fact, he is usually looking at down at them from a high horse because of it.

Zay avoids the topic at first, before breaking somewhat and admitting that part of the reason he gets so irritated with Farkle and Maya’s behavior is because he feels like he can’t use the same sort of tactics. He’s trying to navigate these waters as best he can being a queer man of color, he’s got enough things that draw attention to him and make him different. He doesn’t need to put any more targets on his back by being demanding or overdramatic. The two of them, they can get away with that. He can’t when he’s just fighting for a shred of hard-earned respect in the first place. So even if he wants to throw a tantrum about how they’re finally doing a number he really cares about and no one is paying attention, he can’t. Not really.

Farkle had never considered this angle before. It gives him a totally new perspective on Zay, and in some ways, the techie revolution as well.

**INT. SVORSKI’S COFFEE - DAY**

Riley and Isadora are seated in the window table at the local coffee shop, having found neutral ground to tread to be able to talk freely with one another. Riley is grateful that Isadora showed up at all, but it takes a bit of needling to get her conversing.

When Riley questions why Isadora got so heated at negotiations last night, Isadora is defensive at first. Who wouldn’t be, she claims. But when it’s clear that Riley’s intentions in the conversation are completely genuine, Isadora lets down her guard and opens up a bit.

She explains that she’s been fed up with the behavior of the performers for so long, and they’re always like this. Performers, that is. Look at her mother. The diva behavior, the carelessness, the neglect – all of them are like that.

> **Riley, softly:**   _All_  of them?
> 
> **Isadora:** _[ gazing at her, sheepish ]_ Maybe that’s a bit of a generalization…

Riley prods further, and Isadora gets to talking about her behavior the last couple of episodes. She admits that part of the reason she’s so sensitive to everything right now is because she’s still adjusting to having Lucas back at school. Last week was way harder than she let anyone know, and she’s still trying to get her world back in working order. The performer attitudes and demands didn’t help with that, certainly.

Considering her own world being in disarray, Riley can empathize. Isadora is word vomiting at this point, stumbling into a hasty explanation of why Lucas is so important to her.

> **Isadora:**  He’s not just my friend, he’s like… he’s my rock. Joining Adams last year was crazy and overwhelming, and he was there to help. To ground me. He makes sure I stay out of my head, that I don’t get too wrapped up in my thoughts. When he’s not here… I don’t even know how to explain it. He’s the most important person in my life, he’s pretty much my brother. I don’t think I’d survive at school if he left permanently.

It’s a lovely statement, and definitely illuminates many things about the relationship that Lucas and Isadora share. Their importance, but also, the nature of their relationship. Yes, Riley definitely catches the “he’s pretty much my brother” bit. Ah, if  _that_  doesn’t clear things up…

Isadora goes on to state that if anything, she’s ready for this embargo to end so that she can hang out with Riley at school again without having to go into hiding. Riley, touched, returns the sentiment with full fondness.

**INT. AAA - SHAWN’S OFFICE - DAY**

And perhaps, maybe that end is within sight. Isadora goes to Shawn and claims that she’s willing to come to the table if the other side is. That’s one difficult domino down…

* * *

**Song Cue ♫ ♪ “Yorktown (The World Turned Upside Down)” as performed by Hamilton Original Broadway Cast || Performed by AAA Sophomores**

**INT. AAA - AUDITORIUM**

Isadora takes this initiative and walks it straight into “Yorktown,” launching one of the most elaborate concept numbers in the series to date. While half of the performance is the performers doing their routine (in plain leotards, no lighting, etc.), the other half is the techies “prepping for the final battle” in a sense. Isadora, thusly, takes most of the Hamilton bits.

_[ Lyrics specific to characters – follow along[here](https://docs.google.com/document/d/1SGhxnz99GmxLTfsdeBey-ot1uiRbdVJxGvtZbpGgm1s/edit?usp=sharing)! ]_

The number opens with Yindra coming to meet with Isadora and Lucas, operating as the Lafayette of the trio. She and Isadora declare the phrase “techies, we get the job done,” before she salutes them as the final battle unfolds. As the chorus begins, the performers take the stage and kick off their routine.

Farkle takes one section of the verse, harping on the sentiments of imagining death so much it feels more like a memory and at least having friends now if he’s going down in war. Then Isadora takes back over, instructing the other techies as to how they should move in this dance going forward ( _“Rochambeau! You’ve got your orders now go man, go!”_ )

When we get to the Hercules Mulligan bit, our “spy on the inside” is Nigel! He takes the verse and rails it impressively. When he  _“gets knocked down and gets the fuck back up again,”_  Dylan and Dave jokingly knock him over before he break-dance jumps back upright. Iconic!

As the dance break ensues, each techie is choreographed into facing off with a major performer, their interaction sort of emulating what the nature of their dynamic is like. While Dylan and Asher each take either Maya or Zay, Jade takes Charlie which mostly means her dodging him while he does expertly choreographed high kicks.

Considering they’re not even exactly at odds, Lucas and Riley’s choreography mostly consists of them sort of dancing around each other – especially given that he doesn’t dance. No, the big maneuver for them comes at the end of the sequence, when Lucas finishes the “fight” by scooping her up and tossing her over his shoulder. She’s totally taken by surprise, and if she wasn’t sure whether or not he had feelings for Isadora, well,  _now_ …

Speaking of Isadora, she and Farkle are perhaps the most aggressive of dance duets. They’re the ones with true beef to parse out, and that’s clear in the way they execute the choreography. As the sequence ends and everyone else is shuffled (or carried) off, the stage is left with just the two of them staring one another down. Sizing each other up, trying to determine if one or both of them are going to break this stalemate.

Farkle backs off first, not breaking eye contact but sauntering away towards the wings. Isadora watches him go, holding her ground as best she can.

**INT. AAA - BLACK BOX THEATER - DAY**

Farkle enters the classroom, locking eyes with Angela and clearly there on business. She rises from her desk, nodding him in. He steps inside, closing the door behind him.

**INT. AAA - ATRIUM - DAY**

While the techies await, “wondering if this really means freedom,” their queries are answered as Shawn and Angela emerge from Jack’s office. The entire sophomore class is waiting outside, eager to see how the negotiations have panned out. As they  _“see George Washington smile,”_  Shawn gives Isadora and the techies a subtle wink.

The techies watch as the performers begin to stagger away, the war truly having reached its conclusion. It almost feels unreal…

**INT. AAA - AUDITORIUM - DAY**

As the marching drum comes in and  _“the world turned upside down,”_  each of the main performers steps forward onto the stage to finish the routine. Slowly, as the music rises again and we near the climax of the song, pieces of the tech start to come back into play – the lights come back up, Jeff happily operating them from the booth. Dave and Nate push set pieces into place, high-fiving one another as they pass behind the dancers.

From different corners of the stage, the techies revel in their victory. Jade, Isadora, Dylan & Asher, Lucas – all declaring with ecstatic joy that they won.

The world did, indeed, turn upside down!

* * *

**INT. AAA - SHAWN’S OFFICE - DAY**

With their sides of the school back in order and a whole new world order at play to explore, Shawn and Angela reconvene. They decide that yes, in spite of all the differences and challenges that are bound to await them, this relationship feels worth giving another shot.

They kiss, rounding out their journey back to one another. Can’t wait to see what happens next…

**INT. AAA - BOYS DRESSING ROOM - DAY**

Farkle is alone in the dressing room, still attempting to get all the paint out of his hair from like two days ago. Maya and Zay enter and find him there, laughing at his lackluster attempts to rid himself of the battle scars before shifting into more serious conversation. They ask him if he was the one who pulled Angela into negotiations.

> **Farkle:** Although it took every ounce of kinetic energy in me to force myself to do such a thing, yes. I put down my metaphorical sword and opted for the truce. Hope everyone is damn well pleased about it.
> 
> **Zay, sarcastically:**  Oh, you’re so brave.

Quips aside, Zay genuinely compliments him for putting his ego aside rather than letting the urge to be melodramatic win once again. Maya seconds the notion, pointing out that they have no idea what this new world is going to bring. They’re going to really have to stick together as a diva front united if they’re going to survive the change.

Farkle, starting to warm up to the idea, agrees. Oh, these divas… their friendship…

**INT. AAA - AUDITORIUM - DAY**

Lucas is alone in the auditorium, re-familiarizing himself with the terrain now that the dust has settled. He finishes striking the set from the Yorktown performance, hanging in the quiet for a moment and taking in the peace. It’s clear that he genuinely holds love for that musty auditorium, even if he hates everything else.

Riley enters through the dressing room stage doors, watching him fondly for a moment before stepping into the lights and interrupting his quiet. She commends him for a successfully led revolution. He brushes off the compliment, pointing out that she may have had more of a hand in its victory than she’s admitting.

> **Riley:** Suppose it’s a good thing you didn’t listen to me when I begged for a ceasefire.
> 
> **Lucas:**  Well, I don’t think you completely lacked the war-mongering spirit. From what I hear, you did a lot of negotiating on your end for the cause as well.
> 
> **Riley:** _[ with a shrug ]_  No great moments in history happen because the fighting party put up their hands and surrendered… nor without help. Just goes to show that maybe you don’t have to do everything alone.
> 
> **Lucas:**  … no, maybe not.

The sentiment hangs in the air between them. Lucas breaks the tension, clearing his throat and claiming that if she means to keep good on that offer, she can start by helping him clean up. She laughs, playing along and happily stepping up to finish the tidying.

**Song Cue ♫ ♪ “Rumour Has It (Instrumental)” as performed by Adele || Instrumental**

As if it’s the theme of the AAAC, the abrasive drums and ominous tones of “Rumour Has It” preclude our final scene.

**INT. WYATT’S ROOM - NIGHT**

We’re with Wyatt, holed up in his bedroom alone. He’s still looking pretty rough from his beatdown in 1.05, and while we’ve been able to ignore it while he’s in the background most of the episode, it’s hard to ignore the remnants of it up close. The emotional scars are still present too, as he’s clearly brooding with unaddressed anger.

He starts a direct message with the AAAC, essentially asking to be a part of their operations. He doesn’t want to change it or shake things up, he just wants a piece of the chaotic pie. So he’s clearly not the moderator of the thing, but he definitely wants to be a foot soldier.

The AAAC responds affirmatively, but first requires that he read their three rules of conduct. The last rule is, as it claims, the most important:

  1. All submissions are to be posted unless otherwise expressed by the moderator. No edits or changes allowed. The page is equal opportunity, so that all voices can be heard.
  2. No submissions are to be deleted after posting. If the sender is bold enough to say it in the first place, then they better be bold enough to handle the repercussions. Especially given that the posting is anonymous.
  3. **We don’t start things – we only state them. Our classmates say what they want to say, we are merely the messenger.**



Once Wyatt agrees, he ventures the question we’re all wondering. “Who are you?” A text bubble pops up, indicating that the other side is typing a response.

**In a quick series of cuts, shots of all of our main cast of suspects**  – Isadora, Farkle, Maya, Zay, Lucas, Charlie, Dylan, Asher, Yogi, Dave, Chai, Yindra, Jade, Sarah, Darby, etc. –  **show them on their phones at home or wherever they are.**  It could be any one of them typing the response in that moment.

Finally, the account responds.

“Welcome to AAA Confessions, Wyatt. Get to work.”

_END OF EPISODE._


	10. These Boots Aren't Made For Dancing [ 1.08 ]

**Summary for the Chapter:**

> CULTURE SWAP – As part of the truce, the performers and techies walk a mile in the others’ shoes – almost literally. Some students are more equipped for the change than others. A technician performance at the end of the week promises plenty of surprises.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://t.umblr.com/redirect?z=https%3A%2F%2Fopen.spotify.com%2Fuser%2Fauthorisasauthordoes%2Fplaylist%2F5R7px9cVwMaSFJQj8osIur%3Fsi%3Dg5BG-Hr4Qyq7OgiTZ0GmpA&t=MjAzZjM3YTQ5MWE0MmZmOWNiYzU4ZTFmYWY1MmM5NzUxYzE4MDU5ZCxGalRsZERMWQ%3D%3D&b=t%3AkDXCOjdyQYrhnuEmlkaYMA&p=https%3A%2F%2Ffriarlucas.tumblr.com%2Fpost%2F184556316482%2Fambition-season-1-first-impressions-pilot&m=1)! )

**INT. AAA - BLACK BOX THEATER - DAY**

* * *

**Song Cue ♫ ♪ “Better When I’m Dancin’” as performed by Meghan Trainor || Performed by Zay Babineaux (feat. AAA Sophomores)**

The new world order is in full swing at AAA – and the students are just beginning to figure out what exactly that means. To launch into the change, ZAY BABINEAUX leads the full class in a loose and upbeat rendition of the light-hearted bop.

Yes, that is the full class. Not only are the performers jamming together, but the techies are getting pulled into the dance and each getting their moment to show off their moves. Zay has a little duet with each of them (except Lucas, naturally), including a true standout moment with JEFF MONROE who actually seems to have a semblance of rhythm in his body.

JADE BEAMON allows Zay to twirl her, before scrambling bashfully back to her desk. DYLAN ORLANDO trips over his feet trying a step Zay attempts to teach him and ASHER GARCIA. DAVE WILLIAMS knocks over a desk and sends NICK YOGI and NIGEL CHEY into hysterics. The dancing isn’t  _good_ , but gosh if it isn’t charming as heck!

**INT. AAA - AUDITORIUM - DAY**

The parade progresses into the auditorium, much like the last time Zay dragged them all into a dance. Everyone is twirling around and shuffling together, laughing and taking the challenge in stride. It’s a message of encouragement, both to the techies doing something they’re not great at and to Zay’s fellow performers, who are stressed as hell about what this episode might entail for them. It’s cute! It’s endearing!

But why is it necessary?

* * *

SHAWN HUNTER and ANGELA MOORE explain it to us, as the class settles into their seats in the front of the auditorium. They stand together on the stage, addressing the class and explaining what the assignment is going to be for the week.

> **Angela:**  Considering both sides of the class have now come to a truce –
> 
> **Charlie, fondly:** This school is bananas.
> 
> **Angela:** We want to keep that collaborative spirit and sense of exploration going as we try to navigate how to work together moving forward. This necessitates a better understanding of one another.
> 
> **Shawn:**  An exchange of ideas, if you would.

So, to follow this trend and foster a better understanding of one another, they will be swapping sides for the week. Yes, the performers will be working through each of the roles a technician typically puts into a production. Meanwhile, the techies will be preparing their own number, which they will perform at the conclusion of the assignment. Then, all the elements will come together for the full production experience. It’s a culture swap, baby!

Although there are students clearly not enthusiastic about this development – if LUCAS FRIAR’s disdainful expression or FARKLE MINKUS’ nervous twitching are any indication – but there’s also tentative excitement in the air. This could be fun.

**_Cue opening titles._ **

**INT. AAA - CAFETERIA - DAY**

The performers are discussing these new changes at lunch, and already the subtle changes in dynamic are already on display. Rather than all sitting in different corners of the room, Farkle, MAYA HART, Zay, and CHARLIE GARDNER are enjoying their lunch together at the same table. Nigel and YINDRA AMINO are also with them.

The reviews about the announcement of this week’s assignment are, decidedly, mixed.

> **Maya:** This is insanity. Absolute anarchy.
> 
> **Farkle:**  Look, everyone wanted me to lay down my arms and come to the negotiating table, so I did. This is what happened. I’m not taking any blame, thank you very much.
> 
> **Charlie:** Oh, come on. Maybe it’ll be good for you all to… learn something.
> 
> **Maya:**  I’m sorry, when did we promote you to speaking level?

Zay gives Charlie a playful nudge. He almost chokes on his food.

Even more surprising is the arrival of Lucas to their table, floating over and carrying a stack of paper. His mere presence anywhere near the performer tables is unprecedented, so guess that’s the new world order talking. He greets them all stiffly before handing out the papers, a flyer explaining all of the tasks they will be learning over the course of the week.

> **Zay:**  Oh, and you’re gonna perform, right?
> 
> **Maya, mockingly:**  Ooh, hear that? Huckleberry is gonna  _perform_!
> 
> **Farkle:**  You mean embarrass yourself. You’re going to embarrass yourself.
> 
> _[ Lucas laughs along, taking the moment in stride. In some ways, this is scarier than if he showed anger. ]_
> 
> **Lucas:**  I’d be careful if I were you, Minkus. To progress through each station, you have to get approval from a senior technician to confirm that your work is of a satisfactory quality. Do you have any guesses who that senior technician might be?
> 
> _[ Farkle has stopped laughing, mouth hanging open slightly. Charlie speaks for him. ]_
> 
> **Charlie:**  Is it… you?
> 
> **Lucas:**  (: See you all in lab!

At the other end of the cafeteria, RILEY MATTHEWS is seated at the indoor techie table. She is eagerly discussing the assignment with ISADORA DE LA CRUZ, rambling on about how amazing it is that they’ll finally get to perform and already imagining what the number might be like. She can’t wait for the entire class to see how talented Isadora is.

Her rant is interrupted when Lucas rejoins them, sliding into the seat next to Riley and bumping her shoulder in the process. She clears her throat, getting distracted by how close he’s sitting. It’s hard to forget she now knows very well that he and Isadora are nothing more than platonic…

Isadora has no such distractions. She glances over her shoulder at how shaken the performers seem before looking back at the mischievous expression on his face, giving him a look.

> **Isadora:**  What did you do to them? Lucas, don’t –
> 
> **Lucas:**  What? What, I did nothing! Nothing. I was just… preparing them. (:

Isadora rolls her eyes, already prepping a retort as Lucas smirks to himself. Riley glances at him, unable to hold back a smile. When he locks eyes with her, she bashfully looks down at her food.

> **Isadora:** Don’t cause any more trouble, please. We finally have a school-wide truce, and I wouldn’t mind it if that could stick for a while.
> 
> **Riley:**  It does seem like a long time coming.
> 
> **Isadora:**  I just want everything to be normal now. That’s it. No changes, no drama, just… normalcy.

At Adams? That’s an impossibility. As if on cue, Yogi runs in, raving about whether or not everyone has “seen it” yet. Their table exchanges exhausted looks, assuming he’s referring to the  _AAA Confessions_  page and telling him they don’t wanna hear it. But that’s not what Yogi is talking about.

He slaps down his phone on the tabletop, the assembled brigade of techies leaning over to take a look at it. It’s open to an article from a tabloid, the focus being Isadora and her famous connection to Valerie De La Cruz. She’s officially low-hanging publication fodder. Lucas, Riley, and Isadora look up at the same time, exchanging matching looks of shock with varied degrees of indignation.

So much for normalcy.

**INT. AAA - BLACK BOX THEATER - DAY**

Shawn and Angela are together in the theater classroom, enjoying their lunch as a pair. Shawn is seated in the desk chair, looking up at Angela sitting with her legs crossed on the desktop. It’s her desk, after all, so who is gonna tell her not to sit on it?

They’re flipping through the tabloid themselves, getting a sense of what storm might be brewing next. It never ends at the Academy for the Arts, it seems. Angela also drops the news during the conversation that she is eyeing a few auditions in the coming weeks, and she thinks she’s going to go out for them. She’s been putting them off because she wants to be present for as much of the musical casting process as possible – which is coming around the bend in a week or so – but she’s got a few auditions slated for Thursday and Friday. She wants to start trying to get some actual roles and pursue her dream again, crazy as it still seems.

Shawn is obviously a bit uncertain about this development. He makes a cheeky comment about how telling it is that he just got her back and off she goes again with this dream thing, but he’s mostly kidding. She tosses a playful statement back his way, kicking at him lightly with her heel.

He reaches up and pulls her off the desk, pulling her onto his lap instead as she bursts into laughter. They exchange a kiss, obviously in a better place to have this conversation than they were in their early twenties. Hopefully that mojo persists…

**INT. AAA - ERIC’S OFFICE - DAY**

The chaos unfolds in Eric’s office, where Riley and Lucas marched Isadora as soon as they saw the article. ERIC MATTHEWS listens calmly while they rail on how ridiculous this all is, not to mention an invasion of privacy. Isadora is also quiet in the chair across the desk, not offering much to say herself.

JACK HUNTER is also present, equally as up and arms about the whole thing. Rather than playing his usual role of diffuser, he feeds off of Riley and Lucas’s frustration, the three of them just riling each other up and backing one another up. It takes Eric a hot minute to get them all to shut up, finally allowing Isadora the floor to speak.

When she does, however, she doesn’t say what any of them were expecting. She states she basically wants to ignore it. Yes, it’s stressful, and yes, it’s freaking her out, but she’s sick of reacting to it already. She just wants to pretend it’s not happening.

> **Lucas:**  Dora, are you serious?
> 
> **Isadora:**  It’s not like I can make it go away, can I? But it’s just words on paper. It can’t do anything to me. And who actually reads that thing anyway?
> 
> **Lucas:**  Yeah, but –
> 
> **Jack:**  Are you sure that –
> 
> **Isadora:**  I just want to pretend it’s not there, and focus on the assignment. Is that too much to ask?

No, it’s not, really. Lucas and Riley exchange a look, before looking to Jack. He steps forward, assuring Isadora that he will do whatever he can to get to the bottom of this. They’re going to figure out who leaked this information, and they’ll put a stop to it. Isadora is skeptical.

> **Isadora:** Oh, yeah? You can’t even figure out who is running an anonymous Instagram account for a high school of 200 students. You’re really going to deduce the source of a nationally printed tabloid?  _[ off Jack’s flustered response ]_  Sure. Give it a try. Otherwise, I really just want to go back to the usual routine.

If that’s what she wants, there’s not much more they can do. Eric assures her that she can come to him at any time, which she already knows. She gets to her feet, leading the way out. As they’re leaving, Jack has one more comment to make towards Lucas.

> **Jack:**  You know, I think this is the first time you’ve left one of our offices without saying something inappropriate or knocking something over.
> 
> **Lucas:**   _[ with a cheeky grin ]_ Revolution is beautiful, isn’t it?
> 
> **Eric:** Yes, my yet-to-be-broken mugs and I are very happy with this new world order.

After Jack exits as well, Zay pokes his head in. Eric lights up when he sees him, responding in affirmation to Zay’s statement that he asked to see him and eagerly gesturing for him to take a seat. He explains they’re just waiting for one more person, just as Charlie appears in the doorway.

Eric happily greets him, inviting him in to join them. Charlie spots Zay and has a split second of hesitation and what could be described as panic, but he breezes past it and pulls himself back together in a blink. Could’ve just been a trick of the light. But the moment he’s seated, he immediately asks what Eric could’ve called both them in for specifically.

As he explains it, he pulled the two of them in because they’re some of the most universally liked students in the class. They have a reputation for good attitudes and keeping things positive, and given the challenge present this week for many of their classmates, he was hoping that they could work together to actively make sure things stay light and people are feeling good.

There’s a bit of a question of like… isn’t that Eric’s  _job_ , but Zay and Charlie exchange a look before agreeing that they’ll do it. Eric is thrilled.

**INT. AAA - HALLWAY - DAY**

As Zay and Charlie step into the hall, they both agree that they have no idea what exactly they’re supposed to be doing. But hey, Charlie says, they’ll try their best. Together, as Zay reminds him. He pats him on the shoulder, and Charlie glances at his hand before breaking into a grin.

**INT. AAA - AUDITORIUM - DAY**

And together, Angela reiterates in class, is how they’re all going to manage this week. It’s going to take collaboration from both sides to get to the end of the assignment successfully. And Shawn agrees. Thus, let’s kick off this exchange of swapping sides…

* * *

**Song Cue ♫ ♪ “Strangers Like Me” as performed by Phil Collins || Performed by AAA Sophomores**

A montage carries us through the start of this immersion project, chronicling all the ways that they’re beginning to step into one another’s shoes.

The techies attempt to teach confused performers the basic ropes of their usual jobs. Jade leads them through a costuming seminar, Yogi inevitably sticking himself with multiple pins. Nate painstakingly shows Haley, Clarissa, and Darby how to construct a set piece, but they can barely carry the wood by themselves. Isadora runs them through basic stage mechanics, almost knocking Farkle off the stage on accident.

On the lyrics  _“Every gesture, every move that she makes makes me feel like never before,”_  the focus is on Charlie and Zay. The latter is helping Isadora and Asher with a bout of choreography, and as Charlie watches it’s evident that he’s clearly… struggling with something. He keeps wiping his palms on his jeans, and swallowing hard like he’s dying of thirst. Maybe he is! It’s a relief when Dylan pulls him away again for more help.

When it comes to  _“Why do I have this growing need to be beside her,”_  the moment belongs to Riley and Lucas. He and Dave are teaching her and a group of performers about crewing and moving set pieces during a scene, proper protocol for moving in the dark and where to hold the pieces. Riley evidently says something silly that makes the group of them laugh together. Lucas catches himself smiling at her like an idiot, and then is like. Wait a minute. What am I doing.

Riley, of course, doesn’t notice a thing.

On the flip side, performers are also attempting to give tips to the techies – teaching them dance moves, helping them stand taller with more stage presence, etc. Charlie spends a chunk of time with Dave, Dylan, and Nate, maintaining a positive attitude while showing all of them and their left feet basic dance steps. Maya examines each of them and adjusts their posture. When she gets to Lucas and he just glares at her, she just skips over him. Smart move, miss Hart.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

When the bridge arrives and we’re at the slower reprieve _(“Come with me now to see my world…”)_ , Lucas brings Riley into the technician’s booth for the first time. She follows him up the steps and then hesitantly into the space, knowing full well how sacred it is. She glances at Lucas for a sense of permission before stepping up to the lighting board and main window, getting a taste of the view.

She’s totally entranced by the view of the stage, but Lucas isn’t looking at that. He can’t stop looking at her.

**INT. AAA - AUDITORIUM - DAY**

The rest of the montage progresses with an epic feeling, showing the opposing sides beginning to get the swing of their new stations. Dave does some terrible dance moves, but with confidence! Zay manages to build part of a set piece without killing anyone. The only downbeat is Farkle, who is clearly struggling with every task put in front of him. Poor, poor, little diva…

Angela and Shawn watch all this unfold, exchanging smirks before lightly high-fiving one another. So far, so good.

* * *

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Riley is still in the booth with Lucas, getting her lesson in lighting from him. He’s showing her how to operate the board, sort of mumbling through it as he’s not the instructor Jeff or Isadora would be. But Riley is being a good student, listening very attentively and asking plenty of follow up questions.

When it’s her turn to set up the correct lighting design, she’s cautious as she places her fingers on the board. Partially because it’s an expensive board and she doesn’t want to like, break it, but also because she doesn’t know what she’s doing and doesn’t want to mess up. Lucas senses her hesitation, leaning closer and helping guide her hands to the right sliders.

Yes, it’s  _that_  kind of classic maneuver. Lucas leaning over her shoulder, his hands lightly resting on top of hers. It’s difficult to tell whether the move is intentional on either of their parts, but the moment they realize how close they’re standing it’s clear they weren’t prepared for it.

Riley catches her breath, tilting her head to look at him. She speaks softly, telling him that she thinks she understands why he likes being up here so much. The way it’s sort of removed, has this sense of quiet isolation… but how you can still see everything. The whole world is within your reach, even if you’re safely on the other side.

> **Riley:**  There’s something… I don’t know, beautiful, about that. Isn’t there?
> 
> **Lucas:**   _[ gazing at her, swallowing ]_ Yeah…

The moment is interrupted when Isadora storms in, wondering if either of them are going to do the hell job they’re in charge of and change the lighting? The two of them jump away from one another in seconds, shaking off the tension.

Isadora pushes past Riley, fixing the board herself. She claims they’ve been shouting up at them for like three minutes, what the hell were they doing up here, playing cards? Lucas can’t even look at them, turned away in the other direction.

Guess Riley’s turn in the lighting booth is over. Whoopsie!

**INT. AAA - PROP LOFT - DAY**

Farkle and Maya are in the prop loft, receiving instructions from Asher about the best way to handle each item. He’s going to detail about the elaborate organizational method he has set up for the place, and how it took his entire freshman year to implement it. He emphasizes how each prop is like a child that must be well cared for, handled delicately and with patience… just as Farkle accidentally knocks over one of the tables and sends a bunch of items scattering all over the floor. Asher lets out half a shriek as Maya scrambles out of the way of the wreckage, Farkle sputtering out an apology.

Asher looks like he might pass out, but he assures him it’s fine. He heads out to get a dustpan in case anything was broken, although the possibility seems to kill him as he speaks it. Maya and Farkle bend down to start gathering the fallen. She jokingly claiming that he’s a natural prop master, but Farkle doesn’t really find it funny. It’s obvious he’s in a mood, so she decides to zip it for now. They continue to clean up in silence.

**INT. AAA - AUDITORIUM - DAY**

The techies are assembled on the stage, grouped together to discuss their assignment. Much like their brainstorm in 1.02, they’ve got the rolling whiteboard out and Dylan and Asher are alternating taking notes. Most of the suggestions written so far are nonsensical or silly, demonstrating just how seriously they’re taking this potential performance.

Isadora has a surprising amount of ideas, throwing them out there passionately. Nate points out that it seems she’s been bitten by the performer bug, but she simply states it’s the auteur in her and she doesn’t want them all to embarrass themselves so it may as well be good.

Lucas, conversely, is the grumpiest about the whole thing. He claims they should just not do it. There’s no way they can  _force_  them to perform. It’s against their rights – those ones they just fought tooth and nail for. Dylan and Asher exchange a hesitant look, while Jade states that maybe they should just try and approach it optimistically.

> **Lucas:**  I would rather  _cut_  my feet off with a  _rusty hacksaw_  than do this.
> 
> **Dave:**  Well, that would hurt. :(

It’s clear this brainstorm isn’t going anywhere productive, especially with Lucas in his current mood. The group disbands, sauntering out until it’s only Isadora remaining. She hangs back and keeps working on the whiteboard, scribbling a couple more ideas. She even starts to storyboard a sequence, muttering some potential lyrics under her breath.

It’s clear – she’s enthused about this performance. Now there’s a cinematic twist…

**INT. SHAWN’S APARTMENT - NIGHT**

Shawn and Angela are eating dinner together on Shawn’s cushy couch, discussing how they think the assignment is going. The conversation quickly devolves into kissing, the two of them back in the honeymoon phase of their relationship, until a knock at the door yanks them out of it. Angela asks if he’s expecting anybody, which of course he isn’t, but he gets up to investigate.

When he pulls open the door, Jack is standing there. He’s out of breath, having ran all the way from the nearest subway station. Well, not the nearest, in his haste he jumped off a stop too early, but case in point he made it. Shawn is like great… and why are you here?

Jack invites himself in, settling down next to Angela on the couch after greeting her offhandedly. Angela is a bit embarrassed to be seen in such a situation by her boss, but when she exchanges a look with Shawn he just shrugs.

Jack doesn’t seem at all fazed by it, pulling out his laptop with urgency. He explains that he’s gotten a lead on the tabloid debacle, after spending the past couple of days doing some deep diving and investigating.

> **Jack:**  It took some research, and some conferring with online sources, not to mention a lengthy thread of rather  _persuasive_  emails –
> 
> **Shawn:**  God, you need a hobby. Or a hook-up.

All this aside, Jack was able to retrieve the IP address of the source the tabloid used for the story. He turns his computer to show Angela, Shawn leaning over to take a look as well. She recognizes it first.

> **Angela:** _[ with a gasp ]_  Is that – ?
> 
> **Jack:** The IP address for Adams. Yes, yes it is.  _[ With gusto ]_  The source came from inside our school.

So there it is. Someone at AAA is leaking things about Isadora, and now they’re going to get to the bottom of it.

**INT. MAYA’S APARTMENT - DAY**

Maya is getting ready for school, KATY HART finishing up dressing in her waitress uniform for work. Bag gathered, she takes a moment to admire her mother, who questions why she’s looking at her with that goofy expression.

Maya makes a point of saying how much respect she has for her, considering she’s been working a fraction as hard as she does for the past couple of days and absolutely hates it.

> **Maya:**  I’ve been doing manual labor and things for other people eight hours a day for two days, and I wanna die. You, you do it all the time and don’t even bat an eye. I don’t think I appreciate that enough. I love you.

Katy smiles, wandering over and giving her a kiss on the head. She claims it’s entirely worth it, especially getting to see her follow her dreams. If that means making coffee and serving pie to greasy New Yorkers, then so be it. Oh, and the occasional well-groomed arts student.

Maya accepts the playful jab, claiming that since she’s been getting a taste of her life, Katy deserves a slice of hers. She prompts her mom to pick a song, whatever comes on the radio at work a lot of that she finds herself humming a lot. Katy is hesitant at first, but then she tells Maya to hand her her cell from the coffee table.

The moment she hands it over, Katy already knows exactly what song to play.

* * *

**Song Cue ♫ ♪ “9 to 5” as performed by Dolly Parton|| Performed by Maya Hart & Katy Hart (feat. AAA Sophomores)**

The moment the jaunty piano rings through the apartment, Maya already knows the vibe. Katy is like you think you can keep up? And Maya is like it’s not even a question.

Katy takes lead on the first verse. When she sings _“pour myself a cup of ambition,”_ Maya lets out a laugh. And yeah, it’s because it’s a nod to the title of the show. Cue credits!

The mother-daughter duo dance around together for the first chorus, and it is absolutely charming. We can see where Maya gets her love of performing from, even if Katy never got to see that dream realized. But for a moment in that morning, she gets a taste of it.

**INT. AAA - BLACK BOX THEATER - DAY**

Maya takes the energy and sentiment back to school with her, leading the rest of the performers along with it as they complete their techie tasks. It’s another number that allows us to feature smaller moments with performers we don’t spend much screen time with, such as CLARISSA CRUZ and HALEY FISHER.

All in all, an endearing fun time through and through. Make the dull work flashy, Maya!

* * *

**INT. AAA - AUDITORIUM - DAY**

Riley is attempting to tackle set construction again. Dave is trying his best to help her, but she’s not quite getting it. She’s too delicate with the tools, and you have to be a little forceful with them if you want them to get the message. Lucas walks over to check in and Dave explains the situation.

He steps up to help, coming up close to Riley again and showing her how to properly use the staple gun. It’s another classic maneuver in the vein showing someone how to bowl or golf only… staple gun, and once again necessitates more physical contact than either of them have ventured before. He explains that she has to give it a little more pressure, successfully planting a staple while pressing down his hand over hers.

Dave applauds the success, but Riley isn’t even aware of it. She is totally struck, just staring at Lucas over her shoulder and trying to figure out how to use words again.

Isadora stomps over, proclaiming that this job should not be taking so long. She essentially pushes them to the side, taking the staple gun like ugh, just let me do it! She does the full swath in like fifteen seconds, tossing the tool back at Dave. Riley backs off apologetically, claiming it wasn’t Dave’s fault and she’s just slow on the uptake.

Isadora nods her along, before turning her glare to Lucas. Her expression clearly conveys disdain, like, hello? You’re slipping? Please pull it together in the one week we need to be on top of things? Yes, Isa, he is indeed slipping…

**INT. AAA - JACK’S OFFICE - DAY**

Another bulletin has been released about Isadora, discussing how she might be following in Valerie’s star-studded footsteps considering she is opting to perform in class that week. Eric and Jack are both hunched over the tabloid article, deducing that culprit likely isn’t in the sophomore class. All of them know the expectations of the lesson this week and are aware this performance isn’t anything more than a requirement.

HARLEY KEINER shows up, asking if Jack still needs access to the databases. Jack responds emphatically, allowing him to do whatever he needs to his laptop. When Eric questions what is going on, Jack explains that Harley is giving him access to the school online usage database so they can see who has been using the library computers which route to that specific IP address. 

> **Eric:**  I didn’t realize you tangled with the technical, Harley.
> 
> **Harley:**  I, janitor Harley Keiner, am a man of many interests. I am not simply limited to the sanitorial arts.

Well, no arguing with that. The three of them crowd around the computer, watching as Harley enters the database. Hopefully, taking them one step closer to finding their leak.

**INT. AAA - AUDITORIUM - DAY**

The class has come back together for specified costuming time, a duo of performers each assigned to design the costumes for a technician.

Zay and Riley have been assigned to work with Lucas, who absolutely refuses to talk about the assignment itself. Zay is fishing for details about what their number might be considering they need it to, well, design costumes, but Lucas doesn’t even want to talk about it.

However, all hope is not lost considering they are at least getting measurements. Yes, it is worth noting that Lucas is perfectly fine letting Riley touch him all over to get statistics with her measuring tape – across the shoulders, around the torso, obediently following her soft-spoken directives and doing whatever she needs. Zay is lowkey raising his eyebrows at this, but Riley isn’t saying a word about it because she does not want to jinx herself. Clever girl.

When Zay tries to step forward to help, Lucas reverts back to his Shawn-dubbed “feral cat” state and hisses at him but, you know, in brooding human form. Zay backs off with his hands raised in surrender, more than happy to let Riley do all the work if it’ll keep him from getting rabies.

**INT. AAA - BLACK BOX THEATER - DAY**

Farkle and Maya are working on Isadora, getting much more about the performance out of her than Lucas. Maya is doing the measurements for her, approaching all of the close contact delicately and waiting for cues from Isadora to proceed considering she knows how uncomfortable this might be for her. Behind them, Farkle attempts to piece together scraps of a costume with the sewing machine. Maya asks if the techies are excited about the number, or if they’re all dreading it as much as Lucas clearly is.

> **Isadora:** Is he that obvious?
> 
> **Farkle:** It’s like he’s sweating mediocrity.
> 
> **Maya:** Us performers can smell fear. Especially his; it’s rare.

Farkle also comments that the pressure of the tabloid can’t be helping Isadora’s nerves. Maya shoots him a look to shut up, but Isadora claims it really isn’t bothering her that much. She’s hardly keeping up with it considering how much work she has to put into this week. But so far, she’s kind of enjoying it.

Maya seizes this excitement, stating that Isadora should totally audition for the musical next week. They could certainly use the additional female star power, and what does she have to lose if she actually enjoys it? Isadora seems reluctant, but the more Maya goes on about it the more it seems she may be warming up to it.

Farkle interrupts the train of thought, sticking himself with a pin for the fourteenth time and letting out a resounding  _“FUCK!”_  

> **Maya:**  It’s costuming, Farkle, not brain surgery.
> 
> **Farkle:** Brain surgery would hurt less.

**EXT. AAA - LUNCH COURTYARD - DAY**

At lunch that afternoon, the techies are deep into discussing their performance, Isadora leading the charge. They’re running out of time, after all, so they need to get it together.

Lucas is zoned out, his mind elsewhere. Isadora calls him out, snapping him back to reality and expressing disdain that he isn’t paying any attention.

> **Isadora:**  God, where is your  _brain_  this week?

He doesn’t know, Isa, he doesn’t know! Riley took it and she won’t give it back! He snaps instead, getting defensive about how they shouldn’t be concerned about him considering he doesn’t even want to do it anyway. If Isadora is having such a good time with the whole thing, what does she need him for?

Isadora holds his glare, before pointedly continuing the discussion about the choreography. Lucas rolls his eyes, stabbing at his food. Dylan and Asher share another tacit exchange.

**INT. AAA - BLACK BOX THEATER - DAY**

Unfortunately for Farkle, he’s the next person who has to deal with Lucas. He’s still stuck on the costume construction assignment, and Lucas isn’t in a very forgiving mood.

> **Lucas:** Look at that.  _[ Looking up from the mess of cloth. ]_ Still sucks!

He tells Farkle to try again, which he’s sick of hearing. Farkle jumps to his feet, throwing the costume down and claiming he’s not doing  _shit_  again. Lucas claims he will, that is if he wants to pass. The moment is tense between the two of them.

> **Farkle:**  You’re enjoying this, aren’t you? Must be so nice to finally wield control over the people who are so frustratingly more talented than you. Does that make you feel better? Less inadequate?
> 
> **Lucas:** I’m not the one who’s been stuck on the same assignment for three days because I can’t figure out how to work a little needle.

For a second, it really seems as though Farkle might pounce. Lucas raises his eyebrows, amused, but the moment is disrupted when Shawn pops in. He summons Lucas to his office, sensing the tension the second he steps in but deciding to just diffuse it rather than comment on it.

Farkle waits for them to leave, before kicking at the ruined costume again in frustration.

**INT. AAA - SHAWN’S OFFICE - DAY**

Lucas is seated across the desk from Shawn and Angela, who are confronting him on the basis that they’ve heard from his classmates that he isn’t taking the assignment seriously. He scoffs at this, defending himself and pointing out that he’s done nothing but patiently train the performers all week despite their glaring incompetence.

That’s not what they’re referring to, though, and Lucas knows it. Angela goes on to highlight the upcoming techie performance, citing specific things that Lucas has said or done over the course of the week that indicate his lack of compliance. All of the above have concerned his classmates, and made them worry about how their final assignment was going to turn out.

Lucas deflects and focuses on the very notion that his fellow technicians snitched on him, demanding to know who told them these things. Shawn states that he knows damn well they can’t divulge that information, and that shouldn’t be his takeaway from this conversation anyway. When they push him again on the assignment he gets defensive, claiming that they literally  _can’t_  force him to do this if he doesn’t want to.

Angela points out that he’s a student of this school and it’s part of the curriculum. So, actually, they absolutely can. Lucas storms out, knocking a stack of papers off the desk on his way out for good measure. Angela is totally shocked by this behavior, but Shawn seems totally unimpressed. Nothing he hasn’t dealt with before. He starts gathering the papers again, unbothered.

She laments that he absolutely shouldn’t tolerate that kind of outburst, but Shawn states it’s hardly different than when Farkle has a diva meltdown and stomps off. He comes further to Lucas’s defense, claiming he used to be the same way in high school. She should remember, shouldn’t she? Besides, he knows how it feels to be so reluctant to perform, certain you can’t do it. It’s difficult when everyone around you is so talented, and you know you’re not.

This parlays back into a discussion about Angela going off to try and get back into the business, only this time the focus is about what it would mean for the two of them. It’s evident that Shawn still has some leftover bitterness from being left behind the first go around. Angela assures him that it’s not going to change anything between them, as they’ve both grown and changed yet came back together anyway.

She also tells him that if he wants to become a better performer, then all he has to do is ask.

* * *

**Song Cue ♫ ♪ “Over And Over Again” as performed by Nathan Sykes|| Performed by Angela Moore**

Angela pulls Shawn into a slow dance with her, singing the romantic tune to convey that her devotion to him is indeed true. Although he’s a reluctant dance partner at first, he loosens up over the course of the song. Now that’s romance!

* * *

**INT. AAA - BLACK BOX THEATER - DAY**

Charlie has stepped in to help Farkle, as he’s clearly struggling the most out of all of the performers. Although he has as generous and soft an approach as ever, Farkle is basically foaming at the mouth at this point and is like I’ll kill you, saying some harsh and not very grateful statements to Charlie and what he can do with his plucky positive spin on things.

Zay steps to Charlie’s defense, pulling him away from Farkle and taking over. Only his lecture is far less encouraging and more of a wake up call. 

> **Zay:**  Look, we’re here to be emotional support, not your personal punching bag. So first, you can apologize to Charlie, and then, you can stop being a royal  _bitch_  to everyone who just wants to help you.
> 
> **Farkle, stunned:**  … sorry.
> 
> **Zay:** Needs improvement. But you can figure that out on your own.

Farkle is floored. Charlie is floored, watching the exchange with wide eyes. He doesn’t even react when Zay takes his arm and drags him from the room, leaving Farkle alone.

**INT. AAA - COSTUME LOFT - DAY**

Zay leads them to the costume loft, climbing up the ladder into isolation first while Charlie follows along in a daze. The costume loft is a rather confined hideaway in the realm of the auditorium, a place where students go to chat in private or… confer in other ways. Heaps of costumes make for suitable enough cushions, the rest of the eclectic assortment of clothing hanging from racks.

Zay continues to complain about Farkle’s behavior, flopping onto one of the piles. Charlie catches up to the last few minutes, coming back to reality and claiming that Zay didn’t have to do all that.

> **Zay:**  Of course I did. No one should talk to you that way. You let people talk to you like that all the time?
> 
> **Charlie:** I, uh… just never seemed like a big deal. Just trying to keep things polite.
> 
> **Zay:** There’s being polite, and there’s being a pushover. You’re way too good to let people step on you like that.

Charlie blinks, absorbing this sentiment. It’s unusual for someone to stand up for him so pointedly, and it clearly means a lot for him. Whatever he’s starting to feel here, it’s definitely deeper than he thought…

**INT. AAA - HALLWAY - DAY**

In a quick cut montage, Lucas goes around to each of the techies and interrogates them about who snitched on him. It’s accomplished in a relatively comedic manner, especially for people like Dave who clearly have no idea what’s going on. By the time he gets through a majority of the crew, it begins to become clear exactly who the prime suspects are.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Asher and Dylan show up to the booth, asking if Lucas wanted to see them. He greets them cheerfully, gesturing them in and telling them to get comfortable. He asks if they want anything – snacks, a juice box, whatever – which Dylan definitely takes. Fun times with techie dad!

Or so they thought. Once he’s got them all cozy and secure, Lucas turns the tables on them and methodically questions them about whether or not they ratted him out. They start out resolute at first, adamant that they didn’t do anything, but as Lucas speaks more quickly and with more authority, clearly laying out the logic for how he figured out it was them, Asher cracks first.

> **Asher:**  Alright, okay! It was me, okay! We did it!
> 
> **Dylan:**  Ash!
> 
> **Asher:** Oh,  _don’t_  look at me like that. He’s onto us! He knows! Look, you can see it on his beautiful, withholding face!

Lucas questions why they did it, but it doesn’t take much more to get them to spill all of it. Asher explains that they felt like he was holding back the group, and this week was going to be difficult enough as it is. Once Asher falls it’s not long until Dylan is confessing too, expressing that it took everything in them to turn him in, but they didn’t want the rest of the techies to bear the brunt of the decision. They really believed they were doing what was best for everyone involved.

Both of them apologize profusely, claiming they never intended for it to get back to him this way and they completely understand if he wants to pitch both of them off the catwalk.

> **Dylan:**  Just, please, let Asher wear a blindfold. He’s scared of heights. Me, you can just look me right in the eyes when you –  _[ Gestures a violent shove. ]_

Surprisingly, however, Lucas is rather level-headed. He states he’s not mad, which both of them have trouble believing. He starts pacing, trying to figure out how to move forward with this revelation. Dylan rubs Asher’s shoulder reassuringly.

> **Lucas:**  … did you really do it because you’re concerned about me? You think I’m holding back the group?
> 
> **Asher:** Not you, specifically. Like, not  _you_  or your ability or anything like that.
> 
> **Dylan:**  I actually happen to think with a little bit of practice, you could be quite the leading man.
> 
> **Asher:** _[ hurriedly, off Lucas’s eyebrow raise ]_  We just know how much your opinion means to us, and we know it’s true for the rest of the crew. So when you keep shooting down the project, it’s like… it’s hard to get everyone in the right spirit.
> 
> **Dylan:** Yeah. If your attitude was a little more, like, receptive, the crew would totally go into the whole thing with more confidence. That’s all.

Lucas takes this in. It sure demonstrates the impact of his leadership, just like Riley said he had. He releases a sigh, before requesting that the next time they have an issue with him, they just come to him with it instead of going through a third party. They eagerly agree, apologizing again and promising him they will.

It’s evident that despite his demeanor, Lucas does care about his techie crew and the way they perceive him. He doesn’t care about much, sure, but the things he does? He’ll do anything for.

And boy, is he gonna have to do something…

**INT. AAA - BLACK BOX THEATER - DAY**

Farkle is tackling the costuming assignment for like the fifth time, well on his way to losing his mind in that claustrophobic black box. Jade is present now, doing her best to talk him through each step. He’s just totally frazzled and basically shutting down, and when Riley walks in to see how things around going Jade is more than happy to pass the responsibility of him to her. She makes a beeline out of there, Riley approaching and settling down across the table from Farkle.

Riley coaxes him into giving the assignment one more try, her calm demeanor and patience alone helpful in its own right. As they’re working through the costume piece by piece, she nudges him into expression why he thinks this assignment is so difficult for him. Farkle opens up a bit – it’s the Riley effect, after all – about how this situation just feels out of his control. Like there’s all these elements that he can’t control, and the less competent he is the more that feeling escalates. It’s a vicious cycle.

Riley empathizes, considering what’s going on with her parents. She states that Farkle can only control what is, well, within his control. And, believe it or not, accomplishing this costuming task is within that sphere. All in all, a key friendship building moment for the two of them.

**INT. AAA - HALLWAY - DAY**

Isadora gets a notification from a messaging app, startled to discover it’s from her mother. It’s the first correspondence she’s received from her in months, since she went to visit for winter break. Valerie apologizes for the way the tabloids have seemed to jump on her, and promises that she will take care of it.

Isadora ignores the messages, opting not to respond. She’s obviously still hurt by the state in which her relationship with her mother exists.

When she looks back up again, she’s made it back in front of the black box. The audition sheet for the musical is glaring back at her, almost daring her to put her name on it. It goes against everything she’s ever thought about herself and performing in general… and yet, she can’t seem to look away from it.

Clearly, she has some deliberating to do.

**INT. AAA - AUDITORIUM - DAY**

Lucas is alone at center stage, trying and failing to teach himself the choreography for the techie performance. It’s partially his fault considering he put it off until the last minute, but the fact that he clearly has no idea what he’s doing regardless certainly doesn’t help. Not to mention the nerves. That never improves a difficult situation.

Riley pushes through the stage doors and wanders into the wings just as he’s starting over from the top, evidently frustrated. She hangs back for a moment to observe, clearly finding the visual wholly endearing. Then, she decides to throw him a life preserver.

> **Riley:**  Well, there’s a sight I never thought I’d see.

Lucas brushes off her teasing commentary, explaining that given how important grades are to his crew he figures he should at least put a semblance of effort. Riley nods along, seeing right through his aloof exterior. If he really didn’t care, he wouldn’t be here attempting to rehearse.

Riley volunteers to walk through the steps with him, picking up the choreo sheet and taking a look at it. She observes his approach to a couple of the steps as he walks through it, stating exactly just how stupid he thinks each move is.

After getting a good sense of where he’s at, Riley claims that his main problem is that he’s too stiff. He’s all lost in his head, and there’s no way he’s going to be able to perform the number if he’s so locked up. She claims she can help him, but only if he trusts her and allows her to do so. Can he do that?

After a moment of hesitation, he agrees. He raises his hands in surrender, telling her to do whatever witchcraft it’s going to take to suddenly make him a good dancer.

Amused, Riley pulls out her phone and finds a waltzing track. She explains that it’s important to just get comfortable with movement first, and a waltz is probably one of the most basic forms of dance there is. It’ll at least loosen him up. He seems hesitant, but when Riley holds out her hand, it doesn’t take him long to take it. She adjusts their posture, Lucas allowing her to take the reigns and set them up correctly.

> **Riley:** We’ll use the 3-count – you can count that high, right? _[ Off his offended expression ]_ Just kidding.
> 
> **Lucas:** Ha ha ha. Very funny.

* * *

**Song Cue ♫ ♪ “Princess Diaries Waltz” as performed by John Debney || Instrumental**

They start off slow, taking the dance one step at a time. As they’re going through the motions, Riley can tell that he’s still stuck on the technicalities of it all. His head is constantly down, focused on what his feet are doing rather than letting them operate on their own. 

> **Riley:** That’s your problem. Don’t you see it? You’re overthinking. You keep looking at your feet.
> 
> _[ Riley reaches out and lifts his chin, putting them back at eye level. Lucas locks eyes with her, speechless. ]_
> 
> **Riley:**  Just look at me.

From that moment, it’s clear – Lucas has slipped. He is cascading off the mountain top and falling head over heels.

As the music swells, the two of them continue their lesson. The longer they work at it the more they get the hang of it, actually getting comfortable with the whole thing and, dare it be said, having fun. Lucas even ventures a twirl under the arm, Riley breaking into laughter.

Definitely loosened him up, that’s for sure.

As they waltz, Isadora runs in looking for Lucas. She intends to tell him about the message from her mom and ask what he thinks about her potentially auditioning for the musical, but the second she sees them on the stage together she stops. She ducks back into the shadows of the aisle doors, watching them dance together.

She can tell from the look on her best friend’s face that something is different. Something is  _changing_ , and she gets the feeling she shouldn’t interrupt. But the notion also spooks her – if they’re changing, what does that mean for her? What else might change in the process?

Isadora backs off, disappearing back through the doors and leaving them alone.

* * *

**INT. AAA - LIBRARY - NIGHT**

Jack and Eric are both staying late, working together to comb through pages and pages of computer usage records. Eric flips through the documents while Jack cross references using one of the library desktops, the screen washing them both in blue-white computer glare.

As they’re searching, the two of them vaguely discuss the current sophomore class assignment and whether or not they think anything is actually going to change because of it. Eric points out that it’s impressive how quickly things can change under the right circumstances – including their dynamic.

> **Eric:**  I mean, at the risk of jinxing it, never before would I have believed you and I would be working together so effectively with such a clear goal.
> 
> **Jack:**  Yes, I suppose our priorities tend to be… rather divergent.

But they both care about the students. That’s the obvious unifying motivation for both of them, and perhaps they should default to that train of thought more often. Something to think about.

The somewhat vulnerable conversation screeches to a halt when Jack stumbles upon what he thinks might be exactly what they’re looking for. There’s information about an email exchange with the supposed IP of the tabloid, and the student logged in at the time is a junior named Marly Evans.

Jack and Eric exchange a look. One step closer to answers…

**INT. AAA - AUDITORIUM - DAY**

The performers are all seated in the front section of the auditorium, chattering lightly and impatiently waiting for whatever is supposed to happen next. It’s odd for them to be there in the audience rather than getting ready to perform.

Suddenly, music blasts on over the speakers, being operated by Clarissa.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Clarissa leans back, looking rather pleased with herself at having done the maneuver correctly, as well as relieved. CHAI FRESCO, working the lights, gives her a congratulatory pat on the back.

**INT. AAA - AUDITORIUM - DAY**

The moment the track begins, it’s clear what performance they’re about to be experiencing. All of the performers in the audience react accordingly, jaws dropping and excited laughter already premeditating the performance.

* * *

**Song Cue ♫ ♪ “Dancing Queen” as performed by Mamma Mia! Original Movie Cast || Performed by AAA Sophomore Techies**

As the first opening chorus kicks off, all eight of the usual techie crew make their way down the center aisles on either side of the center section. They’re going into this ridiculous number full throttle, singing along to the track with fervor and sporting the hilarious and amazing costumes that the performers put together for them over the course of the week.

Coming down the aisles, Lucas and Isadora lead the lines on either side and make their way up to the stage. As they pass through, the techies interact with their classmates in the audience. Nigel and Yindra pat Jeff and Nate on the backs as they sashay their way past. Dave high-fives Yogi and Haley, while Dylan and Asher blow kisses to Riley.

Isadora takes a brunt of the singing – and given the talent level of most of the techies vocally, this is for the the best. However, Dylan does get his claim to fame on the line  _“you’re a tease and you turn ‘em on, leaving ‘em burning and then you’re gone,”_  which he delivers with such a flourish. Asher joins in with him on the second half of the line, the two of them standing back to back and just belting that jazz.

In moments where the choreography pairs them off, the duos are Lucas & Isadora, Dave & Jade, Dylan & Asher, and Nate & Jeff. It’s so cute to watch them goof around with each other. They may just pull this heist off yet.

During the midst of each chorus  _(“having the time of your life, ooh”)_ , Dave gets a mini dance solo. It’s all like, bad dancing – the robot, flossing, moonwalking – but it’s hysterical. Jeff also break dances, which is just legendary.

For each beat of the chorus where they sing _“you can dance, you can jive,_ ” the choreography involves pointing out towards the audience before turning to the side whilst Dave takes his solo to finish with a spin on the  _ooh_. During one of these points, Lucas directs his point to Riley and winks. Yes, I did say that right. That idiot actually  _winks_. Riley hides her face in her hands, a la [Rachel Berry in  _Never Been Kissed_](https://giphy.com/gifs/happy-smile-excited-Yszj96QL4mn84).

They bring the number home going back to back with their dance partners, Lucas and Isadora at center stage. The moment their part is done and the final music swell takes over Lucas breaks into a relieved smile and pumps his fist in the air, so happy to have the whole thing be done with. But  _he did it!!_  Isadora tilts her head back against his shoulders, also relieved they managed to pull it off.

Dylan and Asher are jumping around and hugging. Dave hugs Jade and twirls her around. From the audience, the performers leap up and giving them a resounding standing ovation. I could never convey how truly iconic this whole sequence is, but there you have it. One of the best numbers in the full series of  _AMBITION._

* * *

**INT. AAA - AUDITORIUM - DAY**

Given that it’s usually the techies who clean up and strike each performance, now it is up to the performers. Charlie and Zay are cleaning up the stage, cheekily congratulating one another for successfully keeping their class from imploding.

Now that he’s had a couple days to think on it, Charlie makes a point of thanking Zay for standing up for him. Zay tells him he’d do it any time, and admits that he’s actually had a really good time this week goofing around with him. Charlie is all nervous chuckles and flustered waves of dismissal, but it’s clear the sentiment means a lot to him.

As he’s heading out, Zay calls after him. 

> **Zay:**  Think I might take you up on that offer to hang out sometime. You know, if that offer is still valid.
> 
> **Charlie:**   _[ with a smile ]_  Hit me up, and I’m sure we can work something out.

Zay watches him go, unable to hold back that smile that blooms across his face. Then he gets back to work, putting the last of the set pieces back into place.

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Maya finds Isadora in the dressing room, having just changed back into her usual clothes. Maya congratulates her on a job well done, and Isadora returns the notion by thanking her for the ridiculous but effective costume.

Maya reiterates her stance that she believes Isadora should seriously consider auditioning for the musical. Even though she did clearly have a lot of fun with “Dancing Queen,” Isadora hesitantly admits that her reluctance doesn’t just stem from the performing aspect of it.

Without saying much else, Maya senses that she’s referring to her mother, and all the baggage that comes with that. So she takes a different persuasive approach.

> **Maya:**  I get what you’re feeling. It may seem like I take after my mom, and I guess I do in some ways – especially the vocal ability. But otherwise, I really don’t. She’s sweet, just naturally, and softer than anyone I know. I’m not like that.  _[ a beat ]_  I’m more like my dad. And I fought against that part of me a lot, because he’s trash. He left me. He hurt my mom. But… it’s those parts of me that are like me that help me get where I want to go. The determination. The ability to be demanding, when necessary. The stubbornness –
> 
> **Isadora:**  Yes, all of your best traits…
> 
> **Maya:** _[ with an eye roll ]_  I know they’re not the most popular, believe me, but they’re a part of me. He’s a part of me, even if I wish he wasn’t. So I embrace it instead. Because I’m pretty effing awesome, and I’m not holding myself back because of him.

Isadora considers this, avoiding her gaze. Maya gives it one last push.

> **Maya:** You’ve got talent, Smack. Don’t let the things your mom has done hold you back or stop you from doing what makes you happy. Don’t give her the power of taking away another good thing from your life.

Hanging on this sentiment, Maya gives her a light touch on the shoulder before heading out. Isadora ruminates on all of this, turning back to face herself in the mirror. She starts to wipe off her stage makeup… before hesitating. Tilting her head, trying to decide if she likes it or not. If this is something she may actually want to investigate…

* * *

**Song Cue ♫ ♪ “Bird Set Free (Live for Spotify)” as performed by Sia || Performed by Isadora De La Cruz**

Isadora launches into this anthem for self-expression, growing more empowered the further into the song she gets.

**INT. AAA - AUDITORIUM - DAY**

She takes the performance into the auditorium and owns the stage, not inhibited by anybody watching her or the pressure of living up to expectations. Just fully leaning into the interest in performing she’s been holding back for so long, potentially opening up the gates to pursuing it.

And boy, will she get to pursue it…

* * *

**INT. AAA - JACK’S OFFICE - DAY**

Jack confronts MARLY EVANS (17), the student who has been leaking information about Isadora to the tabloids. She claims that it was just to make a quick buck – she’s trying to pay for college soon, after all – and she never meant to like, hurt anyone. Jack states that her behavior is an intrusion of privacy, and such treatment of another student could warrant expulsion.

Marly points out the hypocrisy that Lucas can literally start a fight and not get expelled, but Jack highlights the glaring differences in both of the situations. Angling for one last plea, Marly claims he might reconsider her sentence after she offers what information she knows about the AAAC. Which is to say – she knows things that he might find interesting.

Jack hesitates… this could be a good lead in an other cold case…

**INT. AAA - AUDITORIUM - DAY**

The world seems to have righted itself once again, as Farkle and Maya are back standing at center stage while the techies are seated in the center section. They first commend them on their fun and energetic performance, before going on to explain that although the week was brutal, they learned a lot and are happy to have participated in it. 

> **Farkle:**  Really, I’m just happy to have passed.

But as the techies should well know, they’re performers, and they can’t get through an entire week without a song of their own. This one, though, they claim is dedicated to their crew.

> **Maya:**  We lean on you guys all the time, usually without even realizing it. I think after this week, it’ll be hard to forget how crucially.
> 
> **Farkle:**  So this time around, we’re extending the invitation back to you.

* * *

**Song Cue ♫ ♪ “Lean On Me” as performed by Glee Cast || Performed by AAA Sophomores**

The rest of the performers take the stage as they hum their way into the number, Zay coming to join the other two divas at the front. He takes the first verse, the class joining in on the chorus.

About halfway through, the performers take to the edge of the stage to gesture the techies up there with them. They help pull them up over the front of the stage, climbing up to share in the performance with them. As the song slows to the bridge, the divas give the solo to Isadora who delivers it with gusto.

The class dances together through the rest of the number, emphasizing some of the new bonds that have been built through the episode or strengthening the old ones. Dylan and Asher each have an arm around Lucas. Dave is jamming with Haley and Nigel. Isadora fits pretty effortlessly in with the core group of performers, bringing the song home with them.

Angela and Shawn watch from the back, swaying together and reveling in the fact that their two sides of the school have finally made peace. She leans her head on his shoulder. Shawn smiles watching the sophomores band together and bring down the house to close us out. Finally coexisting.

For now.

_END OF EPISODE._


	11. The Miserables [ 1.09 ]

**Summary for the Chapter:**

> ENTENDEZ-VOUS LES GENS CHANTENT? – Shawn tests his limits as he steps up to lead the production of the spring musical in Angela’s absence. Lingering tension over casting choices bubbles over. Deceptively rosy circumstances prompt students to seek refuge in unlikely places.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://t.umblr.com/redirect?z=https%3A%2F%2Fopen.spotify.com%2Fuser%2Fauthorisasauthordoes%2Fplaylist%2F5R7px9cVwMaSFJQj8osIur%3Fsi%3Dg5BG-Hr4Qyq7OgiTZ0GmpA&t=MjAzZjM3YTQ5MWE0MmZmOWNiYzU4ZTFmYWY1MmM5NzUxYzE4MDU5ZCxGalRsZERMWQ%3D%3D&b=t%3AkDXCOjdyQYrhnuEmlkaYMA&p=https%3A%2F%2Ffriarlucas.tumblr.com%2Fpost%2F184556316482%2Fambition-season-1-first-impressions-pilot&m=1)! )

**INT. AAA - HALLWAY - DAY**

The episode opens on FARKLE MINKUS, standing in front of the black box classroom. He’s looking at a poster for the sophomore spring musical –  _Les Misérables_. He glances up in front of him, tossing a look to the camera, before spinning on his heel and beginning a definitive march down the hallway.

* * *

**Song Cue ♫ ♪ “Do You Hear the People Sing?” as performed by Les Misérables Original London Cast  || Performed by AAA Sophomores**

Farkle kicks off the number, beginning the ode to rebellion as he makes his way through the halls. The opening shot is done in one long, continuous movement, and as other characters join the march and the song, it builds until it’s the full sophomore class parading through the halls and towards the auditorium.

Also as they progress, it seems as though time is shifting around them. Slowly, costume pieces are adorned and changes in the background indicate the passage of time.

**INT. AAA - AUDITORIUM - DAY**

Upon the final chorus, the cast of the spring musical marches into the auditorium. They walk through the aisles in full make-up, hair, and costume, coming to a halt in front of the stage. In front of them, the entire set and staging for  _Les Mis_  has been erected, and we’re suddenly within days of opening night.

Bathed in the glow of the stage lights, the sophomore class looks up at their backdrop. Some look ready for the adventure, others not so much. ISADORA DE LA CRUZ is in full costume, signaling a shift from behind the scenes to center stage. LUCAS FRIAR has the signature headset around his neck, indicating a promotion for him as well.

This is the final breath before the curtain rises. But how did we get from auditions to here? We’re certainly about to find out, and in six distinct parts…

**_Cue title sequence._ **

* * *

Before each part of the episode, a black title screen gives us the name of the story, hanging for about five seconds before fading into the opening scene of the segment.

**_PART I: “Lovely Lady, Come Along and Join Us”_ **

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Isadora is the spotlight of the premier story, taking us back to the period of auditions. She’s giving herself a pep talk in the mirror, about to audition for her first ever show. She tries to remind herself that it’s low stakes, that she’s gone this long without a role she could certainly carry on, but that doesn’t seem to do much to assuage her nerves.

Still, she’s Isadora De La Cruz, and she’s not one to back down from a challenge. Squaring her shoulders, she gears up to go and audition.

**INT. AAA - AUDITORIUM - DAY**

She emerges from the stage doors, coming into the wings yet still hidden behind the curtain. Lucas is there waiting for her. He gives her a bracing pat on the shoulder and a smirk, nodding her towards the stage. Behind her, as he always is.

Returning the nod, Isadora takes a deep breath. Then, she steps out into the lights.

She can barely see ANGELA MOORE and ERIC MATTHEWS through the brightness. She squints to make them out, jumping a bit when Angela’s voice invites her to introduce herself over the speaker. She clears her throat.

> **Isadora:**  I’m Isadora De La Cruz, and I’ll be performing “I Dreamed A Dream.”

Nothing. She’s not sure what she’s expecting, but Angela is merely jotting down notes for reference. Then she lifts her head, signaling for Isadora to begin whenever she’s ready.

Another inhale. She glances over her shoulder one more time, Lucas giving her a thumbs up. Isadora lets her eyes flutter closed, centering herself.

* * *

**Song Cue ♫ ♪ “I Dreamed A Dream” as performed by Les Misérables Original London Cast  || Performed by Isadora De La Cruz**

Starting from the first verse, Isadora tentatively begins the Broadway classic. It’s a little more exposure to her potential vocal ability, which seems untapped and ready to be unleashed. Not as polished as the divas, naturally, but raw with talent and a whole lot of repressed emotion.

As the song progresses, the camera begins a slow spin around Isadora as a time lapse begins. Around her space on the stage, we see other students moving in fast motion through their auditions.

**INT. AAA - HALLWAY - DAY**

By the time the music swells ( _“And still I dream he’ll come to me…”_ ), focus shifts to outside the black box. Angela emerges to a crowd of impatient sophomores, eyeing the cast list she is clutching in her hands. She holds up a finger of patience, pinning it to the board and diving out of the way before the masses converge.

Each student approaches and gets a look at their given role, reactions pointed to how they might be spending the episode. ZAY BABINEAUX finds his name across from the role of  **Jean Valjean** , bristling with confidence and acting wholly unsurprised. Farkle shares a similar pride at being cast as  **Javert** , swooping the hair off his forehead and pushing back through the crowd with his chin held high.

CHARLIE GARDNER seems pretty pleased with being cast as heartthrob  **Marius** , receiving excited pats on the back from HALEY FISHER and DARBY WINTERS. For RILEY MATTHEWS, she’s a distinct mix of happy and stunned to have been given the role of  **Eponine**. YINDRA AMINO shrugs and offers a prideful smirk at her casting of  **Cosette**.

NIGEL CHEY accepts enthusiastic jostling from NICK YOGI and DAVE WILLIAMS at snagging the comedic role of  **Thénardier**. MAYA HART looks less enthused by  **Madame Thénardier,** obviously having anticipated something different.

As Isadora approaches the list, most of the crowd has dispersed. She can’t believe her eyes when she sees her name matched with  **Fantine** , one of the most iconic roles in the show. Slowly, a smile creeps onto her face.

* * *

**INT. AAA - BLACK BOX THEATER - DAY**

Isadora knocks lightly on the door, catching Angela in the midst of packing some of her things. But she greets Isadora cheerfully, welcoming her in so long as she pardons the mess.

She doesn’t bother to ask about the packing, jumping right to her question. She asks if she was given the role of Fantine because of her mother. Not because she’s right for the role or her own talent, but because of her last name. She just wants to know the full reasoning before she initials next to her name and accepts the part.

Angela disputes such a claim, telling her that she was given the role because she gave a great audition. She has talent and earned it fair and square, and she has little doubt that she’ll do an excellent job. Angela encourages her to have half of the confidence in her performing ability as she does in her technical prowess, and she’ll be perfectly fine.

**INT. AAA - HALLWAY - DAY**

With this assurance locked down, it’s settled. Isadora nervously initials next to her name, accepting the role and diving headfirst into the world of the performers.

**INT. AAA - AUDITORIUM - DAY**

Next class, the class is assembled as SHAWN HUNTER hands out their copies of the script. He gives a miniature speech about how he will be taking over as director in Angela’s temporary absence. The performers express skepticism and worry over this change, asking tons of questions such as where the hell Angela went and also what makes him think he can just step into the role of director.

Farkle pipes up louder than all of them, demanding to know whether or not Angela is going to be there for opening night. Shawn assures them that she fully intends to be present for the performances, and she made sure to wait until the last possible minute to leave so she could help prepare a majority of the materials for the show. If they just band together, the whole process will run smoothly.

So he’s choosing to approach the situation with confidence, and he thinks that they all should too. He states the encouragement with a flourish, handing out the last stack of scripts.

> Dave:  _[ reading off the cover ]_  “The Miserables?”
> 
> Zay: It’s  _Les Misérables_ , you uncultured swine. Take a French class.

Too late. From then on out, the techies refer to the show as “The Miserables” the rest of the run.

As the group disperses to begin memorizing lines, Riley eagerly congratulates Isadora on her first official role. She exclaims how exciting it’s going to be to have her on the other side of the curtain. Isadora seems grateful for the enthusiasm, just as Shawn floats over and states that sentiment is precisely what he needs to discuss with her. He asks if he can borrow her for a minute, Riley backing off without complaint.

**INT. AAA - DRESSING ROOM HALL - DAY**

Shawn pulls Isadora aside, starting by congratulating her on her role. Then he poses his query, wanting her opinion on who he should promote to stage manager now that she’s jumping to the other side of the production.

To Isadora, the answer is obvious – Lucas. There’s no one else she can think of for the job. Shawn questions whether she believes he’s responsible enough to handle it, but Isadora has no doubts. If they put the faith in him, he’ll pay it back. He’s never let her down before.

**INT. AAA - AUDITORIUM - DAY**

Even still, Isadora can’t let go of the reins so easily. She shows up early to rehearsal the next afternoon to check on the crew, finding them in their usual spot in the back of the auditorium. They all greet her eagerly as she approaches, happy to see her back in their quarters.

She simply states that she wanted to check in that everything is going smoothly, to which ASHER GARCIA tells her not to worry. DYLAN ORLANDO chimes in, telling her that they’re all super proud of her for shaking things up on the other side. They want her to go forth and slay! They’ll be fine, now go show the performers what she’s made of.

Reassuring, but in some ways even more pressuring than before. Now she’s carrying the expectations of the techies on her back too, and she’s not sure how to feel about it.

**INT. AAA - DANCE STUDIO - DAY**

It’s even more overwhelming to be thrown into the midst of rehearsals without them. She’s attempting to keep up with the demands, but clearly unfamiliar with how to proceed and surrounded by people that up until a month ago had always been adversaries. So, the moment they have a moment to break from vocal rehearsal, she searches for allies.

She goes to Riley first, but it’s evident that although she’s still incredibly supportive she’s a little spaced out. Clearly, she’s got her own stuff going on and won’t be much help. Isadora turns to Maya next, having had friendly interactions with her in the past and given that she was the one who told her to audition in the first place.

However, Maya is not receptive to such advice-giving. She’s in the midst of her diva meltdown of the season, and frankly isn’t all that fond of Isadora at the moment. She says a few offhand words before floating away, rejoining Chai and Darby at the other end of the studio. Isadora tries not to let the dismissal sting, determined not to show weakness in this new territory.

She glances over her shoulder towards Shawn, who happens to be conferring with Lucas about something stage managing related. But he feels a million miles away, and he’s gone before she can even blink back to the auditorium.

Isadora stands alone in the center of the room, somehow isolated despite being in the midst of all the action.

**INT. FOSTER HOME - ISADORA’S BEDROOM - NIGHT**

That night, Isadora finds herself contemplating the only other source she can think of to reach out to – Valerie. She sits at her desk and opens and closes her phone a couple of times, obviously indecisive. She begins typing a message in response to all the previous ones she let go unanswered, explaining that she got a role in the school musical but isn’t sure she is cut out for it. She puts it all out there in text form… before hastily deleting it.

Not ready to let down those walls, but still desperately needing guidance. She gets up from her desk and flops onto her bed, exhausted.

**EXT. AAA - LUNCH COURTYARD - DAY**

Isadora attempts to ask Riley about it at lunch, but it’s evident that Riley is distracted. Whatever is going on in her neck of the woods, it’s obviously occupied her mind so she’s little help. She optimistically encourages her to contact her mother if that’s something she’s been considering, but it’s clear she isn’t giving the situation much serious thought.

When Isadora claims she wants to get a second opinion, Riley eagerly agrees to that as well. So it’s not clear whether she’s actually listening, or if she’s just playing support staff like the good friend she is.

> **Isadora:**  And you’re clearly not really listening.
> 
> **Riley:**  Totally. Yeah – wait, what?
> 
> **Isadora:**  Nothing. Simply thinking about how nice it is to have you around.
> 
> **Riley:**  :)

In any case, she wants that second opinion. Time to revert to the safest source of thought she’s ever known – if he can spare a moment to give her the time of day.

**INT. AAA - AUDITORIUM - DAY**

Lucas is in the auditorium, standing at the base of the stage and looking up towards the set as Dylan and DAVE WILLIAMS work to set up the backdrop.

> **Lucas:**  Okay, let’s see the barricade backdrop.
> 
> _[ Dylan and Dave frantically lower one of the curtains, pulling down a beautiful sunset of a backdrop with a twinkling castle in the distance and a cotton candy sky. A leftover from their last show,_ Cinderella _. ]_
> 
> **Lucas:**   _[ Waiting until it’s fully down, closing his eyes and forcing a smile. ]_  Okay, now, I meant the barricade that’s not Cinderella’s castle.
> 
> _[ Dave and Dylan look up at the backdrop, wincing. Dave immediately begins pulling the ropes to bring it back up. ]_
> 
> **Dylan:** Sorry!
> 
> **Lucas:**  It’s fine just…  _[ gesturing indicatively ]_ Fix it.
> 
> **Dylan:**  Aye, aye, captain.

Isadora enters just as Lucas is giving this directive, traipsing down the aisle to join him at the front. He greets her, Isadora asking if he has a second to chat. He nods, glancing back over his shoulder at them fumbling with the backdrop.

> **Lucas:** Depending on how long this takes them, could be forever.

He nods towards the booth, leading the way back up the aisle.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Lucas reenters the booth with Isadora close behind, settling into his usual rolling chair. He props his feet up on the lighting table and pulls a granola bar from a stash in the filing cabinet, lamenting just how many things can go wrong in one day around here. Isadora is like believe me, I know, but states that she kind of misses it.

Lucas teases her about her new role, asking her how it is to be a traitor and infiltrate the other side. She rolls her eyes and can tell he’s just poking fun, but it still stings a bit more than she anticipated. She cuts to the chase, eager to change the subject. She expresses her hesitation about talking to her mother, asking if he thinks she should reach out.

Lucas, who has never liked Valerie for how severely she fucked with Isadora’s emotions, isn’t a fan of the idea. To say the least.

> **Lucas:**  Are you kidding? No.
> 
> **Isadora:**  No – no. You think no.
> 
> **Lucas:**  Absolutely the fuck not. She’s never done a thing for you, what makes you think she’s going to change that tune now?
> 
> **Isadora:** Well… well, I mean it is her area of expertise –
> 
> **Lucas:**  See, that’s where you’re wrong. Her area of expertise is being a shit mother, and because of her you need no explanation on how that works. You owe her nothing, and you don’t need to give her an invitation back into your life to fuck you over again. You wanted my opinion, and that’s it.

Isadora isn’t surprised by this stance from her best friend. What she’s surprised by is the fact that she’s  _disappointed_  in this response, and that’s more telling than anything else. She’s pulled from the conversation before she can think on it further, or ask about the crew and how everything is going. Shawn calls her down for call time.

> **Lucas, sarcastically:**  The spotlight awaits.

**INT. FOSTER HOME - BLUE’S ROOM - NIGHT**

Isadora passes through the hall when she doubles back, catching a glimpse of her foster sibling BLUE NGUYEN (17). The eldest foster sibling and most level-headed, Isadora figures it may not hurt to ask him for advice. She knocks on the door before stepping in and explaining her hesitation about Valerie, asking him what he would do.

Blue can’t speak much on his own experience with his parents, since the entire reason he’s in this foster home at all is because his parents kicked him out when they learned he is trans and want nothing to do with him pretty decisively. But he says that since Valerie clearly is making an effort, she should take advantage of that and see where it takes them. It may not end up exactly how Isadora envisions it, but at least it’ll be better than not pursuing it and always leaving a lingering what-if.

BEATRIX TORRES (16) interrupts the conversation, exclaiming that she finally found Isadora. Her brother Jericho has been asking for homework help, and she’s always better with that than she is. When she gets caught up on the topic of conversation, she offers her two cents of the fact that her mother literally can’t afford to take care of her and Jericho. Sure, sometimes she resents her for that, but at the end of the day she’s still their mom and she will take any amount of time with her she can get. And when they do spend time together, it’s hard and takes some adjustment to break out of that independence and lingering resentment, but it’s usually worth it afterwards.

She doesn’t know why Valerie gave up Isadora, but it seems to her like it may be a similar kind of vibe. Valerie’s celebrity aside. Isadora takes all of this in, contemplative.

**INT. FOSTER HOME - ISADORA’S ROOM - NIGHT**

Back in her room for the evening, Isadora makes a choice. Grabbing her phone, she crafts a message Valerie again. Before she can change her mind she hits send, not allowing herself to look at it anymore. She leaves her phone on the desk and out of her reach, climbing into bed.

**INT. AAA - AUDITORIUM - DAY**

Rehearsals are ongoing, a rendition of “Master of the House” going onstage. Isadora is in the wings, waiting for her next attempt to rehearse “Lovely Ladies” when her phone vibrates. It’s a response from Valerie, and an enthusiastic one at that. At the end of the message, it asks if they can video chat.

Isadora glances around her, making sure the number is still well in progress. Then, she steps out into the dressing room hall.

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Isadora checks that no one is around before stepping into the dressing room, settling into her corner of the room. She braces herself before dialing Valerie’s number, impatiently waiting for the video call to go through.

When it finally goes through, VALERIE DE LA CRUZ is looking back at us from the other side. It’s a bit of a fuzzy connection, but she’s just as stunning as ever and clearly enjoying the Los Angeles sunshine wherever she is. She immediately congratulates Isadora on her role, eagerly asking her what she thinks of the show and her rehearsal process so far.

When Isadora mentions some of the nerves she’s been having during rehearsal, Valerie empathizes. She explains that performing is hell, it’s an endurance sport, and she still gets anxiety sometimes before getting out on that stage. But the thrill of performing and the applause and that connection with the audience, that outstrips every frayed nerve by the time she opens her mouth to sing. The joy of singing is so worth it, and she knows Isadora feels it too, otherwise she wouldn’t have bothered to audition in the first place.

> **Valerie:**  Everyone says this to me all the time and it never helps, but it’s true so I’ll pass it onto you – you’re extremely talented. You’ve got an incredible voice. There’s nothing to worry about, you’re going to kill it.
> 
> **Isadora, sheepishly:**  You’ve never even heard me.
> 
> **Valerie:**  I don’t have to. I already know it. You’re Isadora De La Cruz, and you’re going to take the world by storm. I’ve known that since the day you were born.

Valerie claims she has to go back to rehearsal, and she’s sure Isadora does too. But she’s proud of her, and she can’t wait to hear all about it. When Isadora hangs up she’s still nervous, but there’s a bit more confidence instilled in her now. She’s determined.

Unfortunately, this is all put to the test when Maya enters the dressing room. She eyes Isadora putting her phone away, commenting that she must’ve had an important call if she needed to step out of rehearsal. She shrugs off her attempts to defend herself, basically insinuating that Isadora isn’t a serious performer if she won’t even take rehearsals seriously – a stretch, and part of the fool routine Maya has been putting on since the cast list went up.

Isadora doesn’t understand why she’s so pissy, considering she was the one who told her to audition in the first place. What, just because it doesn’t benefit her, she’s not worth the support anymore? Maya tries to brush it off, but Isadora is sharp with pointing out her hypocrisy and isn’t going to just let her diva behavior off the hook. She thought they were past that.

Still, Maya gets the last word. As Isadora heads out to get back to rehearsal, she has one last choice statement to make.

> **Maya:** Don’t blow it, De La Cruz.

A sharp comment, coming from a girl who knows what power it wields. No one has ever called Isadora by her actual surname before, and the implications as to why it’s being used now are clear. Isadora doesn’t respond, gritting her teeth and storming out.

Maya watches her go, chewing her lip. Still, her eyes are blazing. Obviously struggling to deal with the way things are…

**_PART II: “Everything Has Got A Little Price”_ **

**INT. AAA - HALLWAY - DAY**

Maya is wearing that same expression, back in front of the cast list for the first time. Others are still celebrating around her, Zay patting Charlie on the shoulders in the background. She’s bristling, focused on how both the other divas have leading roles… and then she’s a few lines down. Past Isadora, past Riley, relegated to second fiddle.

She doesn’t initial to accept her part, storming off.

**INT. AAA - SHAWN’S OFFICE - DAY**

Maya launches into a tirade the moment she steps into Shawn’s office, lamenting how she’s being punished. It’s clear that Shawn isn’t surprised she’s there, but he expresses exasperated confusion over her statement as he gets to his feet.

> **Maya:**  I mean, tell me, what did I do? Why am I being punished when all I’ve done is encourage others to spread their little wings and soar and try to bridge the divides? You know, sort of. More so than Farkle, at least.

Shawn claims that the decision had very little to do with her, as he and Angela simply attempted to match the best role to each performer who auditioned. Maya scoffs, searching for another route to harpoon instead.

> **Maya:**  Then explain this, Hunter. Why did you and Miss Moore think it was a good idea to pick a show with such a limited female cast? As if their class isn’t dominated by talented women? As if men don’t already own enough of the world?
> 
> **Shawn:** You literally wrote  _Les Mis_  when we passed around the suggestion box. It was one of your thirteen submissions – all of which you signed.
> 
> **Maya:**  It’s unjust is what it is. Just say you hate women, Mister Hunter. Just say you hate me, let’s get it out in the open.

Shawn doesn’t humor her bullshit the way Angela does, calling her out for the diva antics. He reminds her that it is only one show, and there will be plenty of more opportunities for her to hog the spotlight in the future. And even if it were his decision – which it’s not – he wouldn’t change the casting now.

Maya huffs, spinning on her heel and marching out. She nearly runs into Lucas in the doorway, turning some of her venom on him.

> **Maya:**  Are your two left boots incapable of walking too? Get out of my way, gothic Butch Cassidy.

**INT. AAA - BLACK BOX THEATER - DAY**

Zay and Charlie are humoring Maya’s tantrum as she’s getting costumed by JADE BEAMON, continually pausing her ranting to curse as Jade sticks her with a pin. Considering Jade is their best costumer, it’s likely the pin sticking isn’t all that unintentional despite how emphatically she apologizes each time. Although, all of the gesticulating Maya is doing could be a factor.

Zay shakes his head, pointing out that this is exactly why no one likes her or Farkle. Because they so easily caught up in shit like this, so their friendship is thin. It means nothing. Maya is miffed by the insinuation, defending her attitude on the basis that she’s simply not getting her fair share – i.e., the tried and true argument of every theater kid once upon a time.

Charlie offers a more positive spin by stating that she’s just paying her dues as every showman must. Maya refutes this, impassioned.

> **Maya:**  I’m going to make it. I’m going to be the one who emerges from this school after fighting tooth and nail to stay on top, and then I’ll never look back. But I need to build credit while I’m here, and being stuck in smaller roles isn’t going to accomplish that.

Charlie argues that Mme Thénardier is actually a pretty fun role that most people would love to have, but Maya is beyond reason. She continues her rant, claiming that one day she’s going to make it and none of this is going to matter, but right now, she has to go perform this stupid musical. Zay, Charlie, and Jade watch her as she storms out, exchanging looks of amusement.

* * *

**Song Cue ♫ ♪ “Master of the House” as performed by Les Misérables Original London Cast  || Performed by Nigel Chey & Maya Hart (feat. AAA Sophomores)**

**INT. AAA - AUDITORIUM - DAY**

The stage getting closer to a finished set, the sophomores take their places for a truncated rendition of this rowdy and fun ensemble number. NIGEL CHEY does an excellent job with his role, really giving the performance a spark of energy.

As the performers run through it, they poke fun at the techies working on the set and attempt to pull them into the dancing. They’re particularly goofy with Lucas, who stumbles around in his struggle to avoid them and actually get work done. By the time the song comes to an end, he’s retreated to the wings in a huff, Riley waiting there and giggling at him as he fixes his clothes and adjusts his headset.

When Maya’s solo comes along, she delivers the lyrics with convincing levels of exasperation. She’s going through the motions, channeling her frustration with the casting into the role. All in all, despite her behavior, it’s an enjoyable production.

* * *

**INT. CHUBBIE’S DINER - NIGHT**

On the table of the booth in the back corner, Maya has spread out a flurry of flyers and pamphlets. It’s a series of programs and auditions she can put herself up for, searching for new avenues to bolster her credentials before she goes out there into the real world. In particular, a pamphlet for the coveted  **Kossal Summer Program**  seems to be in the forefront of her mind – the same summer program that Farkle mentioned in the pilot.

KATY HART interrupts her laser focus, wandering over and bringing a slice of pie with her. She places the plate down in front of her daughter before sliding into the booth across from her, asking her what she’s working on so diligently. After Maya plaintively explains her dire straits and desire to find more ways to hone her craft, Katy takes the chance to share a surprise. She was able to get opening night off of work, so she’ll be able to come see her perform!

Maya is happy, but not nearly as enthused as she could be. When Katy comments on this, Maya beats around the bush before admitting that she doesn’t know if it’s worth it considering she hardly has a part worth blowing off work for. Katy claims that she could be playing a tree and it would still be worth it to her, to which Maya states all the trees are barricade wood at this point.

Katy questions why she’s so stuck on the size of the part, pulling out the age old adage that there are no small parts, only small actors. Maya rolls her eyes at this, before going into her thought process about how she doesn’t want to take one misstep and somehow mess up her shot. She’s terrified of this becoming a pattern, of somehow becoming constantly overlooked.

> **Maya:** I mean, look at you. You’re the most talented person I know, and no one ever even gave you a chance. You had it all, and you still had to give it up because no one would give you the time of day. How am I supposed to keep that from happening to me if techies and forgettable sopranos are getting leads over me?

Katy refutes this fear, stating that she and Maya are on very different paths. She set out to make sure Maya got to make her own path, after all. She shouldn’t stomp all over the good things that this experience might be bringing because she’s terrified of how the future might treat her. Another golden lesson from mother of the year Katy Hart…

**INT. AAA - AUDITORIUM - DAY**

Farkle is hanging out on the barricade set, now nearly fully constructed. He’s half in costume, balancing his police hat on his knee and focused on a text conversation with his mother. Jennifer’s texts express the opposite sentiment to Katy – they’re doing their best to clear their schedules for opening night, but this that and the other might cause a conflict.

She follows up by stating they’ll work it out, and they will see him perform one way or another. He doesn’t look particularly convinced.

He’s pulled out of the moment when the stage door slams open, Riley barreling out of the dressing room hall. She’s obviously miffed, cheeks flushed and on the warpath. Riles Scrappy Matthews came to  _play_!

> **Farkle:**  What’s got your feathers all ruffled?
> 
> **Riley:**  Don’t push me. You got something to say?
> 
> **Farkle:**  … No, ma’am.
> 
> **Riley:**  Smart. Guess you are a genius.

Riley stomps off, leaving Farkle totally confused. He glances towards the dressing rooms where she came from. Wondering who she might have murdered, he hops off the set piece.

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Farkle inches his way into the dressing room, dreading seeing something he shouldn’t in return for his bold choice to enter the girls territory. Lucky for him, there’s no one there but Maya.

She’s standing at her station in front of the mirror, holding a tissue to her mouth and clearly just wrapping up a brief crying spree. She spots Farkle behind her through the mirror, jumping slightly and frantically wiping at her eyes. She tells him he can’t be in there, to which he simply responds tit for tat, given that she walks into the boys dressing room to bother him all the time.

When he tentatively attempts to figure out why she’s being so… emotional, she lashes out at him much like she’s been all through the rehearsal process. He raises his hands in surrender, telling her that she’s gotta chill.

> **Maya:**  Oh, that’s rich, coming from you.
> 
> **Farkle:** Believe me, bitch, I know. Why do you think I’m telling you it with such certainty? Been there. Often.

He reaches into the pocket of his pants, retrieving a handkerchief. He hands it to her, which she reluctantly takes. Farkle goes on to explain that he just got friends – including her – and the only reason is because he started trying to control the diva instincts and consider how that impacts other people. It’s that kind of behavior that makes allies difficult to keep.

Maya has always had the upper hand between the two of them, and it’s because she’s slightly more palatable in that regard. He advises her not to give up that advantage now by blowing it all on a stupid musical which they’ll have many more of before their time here is done.

After a moment, Maya relents and admits that they are probably more similar than she ever wanted to believe. Farkle gives her one more statement of camaraderie.

> **Farkle:**  I understand the notion of knowing what you’re destined to do and being willing to do whatever it takes. Trust me, I feel that in my bones. It’s not an attractive quality, but it’s what is going to put us one tier above the rest.
> 
> _ [ Maya dabs her eyes with the handkerchief. Farkle waits for her to meet his eyes. ] _
> 
> **Farkle:**  But first, we have to pay our dues. Whether it be as the town crier in Cinderella or the scheming, sultry wife to one of the most notorious tricks in the fabled history of the French revolution.

With that, he leaves her to pull herself back together. Maya hangs onto his handkerchief, glancing up at herself in the mirror. Not necessarily liking what she sees. Boy, if she doesn’t have damage control to do now…

**_PART III: “A Little Fall of Rain”_ **

**INT. AAA - HALLWAY - DAY**

We’re back in front of the cast list, Riley now the one standing in front of it. She stares at her name across from Eponine in awe, unable to believe it’s accurate. But Yindra’s enthusiastic grip on her arm confirms it – it must be true. She’s playing perhaps one of the best roles, with one of the most iconic female solos of all time.

That’s a lot to take in all at once. And she needs one more bout of reassurance, just to be sure there wasn’t a mistake.

**INT. AAA - BLACK BOX THEATER - DAY**

This is how she ends up in Angela’s classroom, following the same route as Isadora in questioning whether the role was given correctly. Considering performers like Maya do exist in their class, she just wants to be absolutely certain. She was expecting something a little more soft-spoken, like Cosette. Or a chorus member. She doesn’t want to let anyone down.

Angela claims there was no mistake, and the casting was quite intentional. She thinks she’ll make an excellent Eponine. When Riley expresses apprehension, Angela sits her down and goes into more depth on the choice. As she explains it, Eponine is a tragic character, but she’s not a victim – she suffers and struggles but continues to crawl onward regardless. She makes bold choices, but also bottles up her emotions to benefit others. She puts aside her own wants to service the happiness of others, even at her own expense.

It takes a great actress to capture that complexity, and she’s sure Riley can pull it off. Considering it sort of feels like she just described her life story, Riley seems a little less uncertain than before.

As Riley heads out to go initial and accept the role, she hangs back and asks the question as to why Angela is taking an extended absence anyway. Seeing as she’s the performing student the least likely to blow an emotional gasket, Angela decides she can share the truth with her. She tells her about the auditions she is going out for which will keep her out during afternoon rehearsals, and how the conflicts just grow more pressing during dress rehearsal week. But she trusts Shawn. She’s sure it’ll be fine.

When Riley double checks that she’ll be there for opening night, Angela assures her there’s no doubt about it. Taking her at her word, Riley accepts this, wishing Angela luck. If anyone at AAA deserves to pursue their dreams, it may as well be the teacher helping them all foster theirs.

**INT. MATTHEWS APARTMENT - NIGHT**

Things at the Matthews apartment are… disarmingly comfortable. With the divorce paperwork in development, it seems that TOPANGA LAWRENCE and CORY MATTHEWS have managed to reach some semblance of normalcy again. No longer feeling trapped, perhaps it’s easier to maintain a cordial attitude.

In fact, in some ways it’s more than that. Weirdly enough, they seem back to the way that Riley always knew them. At ease, cracking jokes, poking fun at each other in a way that isn’t laced with harsh truth. Dinner feels normal, for once.

When Riley mentions that she got the role of Eponine in the musical, the whole family offers their congratulations. AUGGIE MATTHEWS offers her a high-five, which she takes. Topanga states that she’s proud of her, and commends her for putting herself out there. She then launches into all the steps Riley should take to prepare for the role, never one to pass up on giving guidance…

Still, Riley doesn’t mind. It’s nice to eat dinner without feeling as though the house is going to crumble on top of you at any moment. She smiles as Topanga rattles on, taking a bite of her meal and sharing a smile with her brother.

**INT. AAA - AUDITORIUM - DAY**

Riley is running around backstage after “Master of the House” wraps a run through, getting ready for the next number. She dodges a shoulder bump from Maya, glancing over her shoulder at her before getting distracted by Charlie. He pulls her into places with him backstage, the two of them gearing up for their next scene.

Charlie makes a couple of cracks about how it’s only fitting that they would end up playing complicated love interests. Riley fires back that if that’s the case, the roles should be reversed considering she was never the one carrying around unrequited love… but the banter is more natural and relaxed than it’s ever been between them. Both of them finally on the same page, it seems, and knowing it’s all in jest.

Riley comments that he and Zay seem to have become pretty good friends, which seems to shock Charlie at first. He asks why she would say that, and when she gives a list of very reasonable and normal observations, he relaxes. He agrees to the sentiment, stating that Zay is amazing and it’s nice to have another friend who appreciates dance and all that jazz. Riley states that it’s nice to see Zay having another friend who appreciates him for how great he is.

Charlie seconds the notion, before holding out his hand. Prepared to run on stage with her as the best-friends-yet-not-quite-lovers their roles demand. Riley returns his smile and then takes it, jumping into character as the two of them emerge from behind the set and into the lights.

**INT. MATTHEWS APARTMENT - NIGHT**

Riley is helping Topanga cook dinner, the two of them actually enjoying a pleasant conversation for the first time in months. Truly, the lack of tension between her parents is more of a blessing than she ever realized.

As the topic of discussion drifts to the musical, Topanga starts giving her unsolicited tips on how she improve her performance again. Despite having never been a performer herself, giving counsel is how she shows love, so that’s what she’s going to give.

When Riley claims she’s mostly going to rely on channeling emotion from the heart and empathize with the character, Topanga sort of laughs the notion down. She claims that you can’t rely on false or fictionalized foundations to give a good performance, there has to be some truth to it, doesn’t there? Don’t be silly, Riley.

Riley starts to defend herself, but Topanga has already moved onto the next ream of advice. It’s clear that when it comes to her mother, Riley definitely has trouble standing her ground.

**INT. AAA - AUDITORIUM - DAY**

At rehearsal, Riley is finishing up a rehearsal of “On My Own.” Given the contradictory counsel from her mother, she’s lost in her head and the performance is weaker than it could be.

Shawn attempts to give her feedback, but he’s not as skilled a director as Angela and struggles to find the right way to phrase it. Maya jumps in with a backhanded comment of her own.

> **Shawn:**  There’s just something about it that’s not right. It needs more… you just need a little bit… I think that if you –
> 
> **Riley:**  … so I should… ?
> 
> **Shawn:**  … Try harder?
> 
> **Maya:** Sometimes it’s just about matching the right performer to the role.

Riley tries to ignore the insinuation, insisting to Shawn that she’ll try harder next time. He gives her a thumbs up, hoping that whatever that means it’ll be what the production needs. Then he shoots Maya a look, discouraging the negative commentary.

As she spins away from them, Riley lets the frustration and hurt hit her for a moment. Then she bottles it back up, marching offstage.

As she makes her way through the backstage where the techies are hard at work, she runs into Lucas as he’s in the process of helping Nate and Dave get a set piece finalized. It’s clear he’s in full manager mode, balancing a million and one things on his plate and only half-listening to what she’s saying.

They get through half a conversation about how the stage managing is going before he even looks at her, zeroing in on the fact that part of her costume is messed up. He comments on it, and before Riley can even question it he reaches forward and begins fixing it. She totally loses her train of thought as he undoes the belt around her waist and and adjusts it correctly, wholly focused on the show aspects and not even thinking about other possible implications of such a gesture. He offhandedly asks her how her rehearsal process is going, to which she sort of stammers out half a response.

Then he’s done, already jogging off to fix the next thing. Riley stands there, dumbstruck and a little out of breath. She spins around, trying to remember what she was even supposed to be doing in the first place.

**INT. MATTHEWS APARTMENT - NIGHT**

Riley is helping Auggie with homework, half paying attention and half reading through her script again. It’s dog-eared and got a dozen colorful tabs stuck in it, so it’s evident she’s gone over it multiple times.

Auggie manages to regain her full attention when he pops the question of whether she thinks Cory and Topanga are calling off the divorce. This catches Riley completely off-guard, prompting her to ask him what he’s talking about. He goes on to point out that they’ve been getting along great lately, and they haven’t argued in weeks. Doesn’t that mean things are going back to normal? Couldn’t that mean it’s all going to be okay?

This stuff is hard enough to grasp as a teenager – it’s clear it makes no sense to a nine-year-old and he’s desperately trying to make sense of it. Riley looks at her brother, suddenly overwhelmed and clueless with how to handle the situation. She can’t look at him and break his heart, but she doesn’t want to build false hope and lie either. So she escapes instead.

> **Riley:**  I… I need some air. I’m going for a walk.
> 
> **Auggie:**  But dinner is in twenty minutes.
> 
> **Riley:** _[ already out the door ]_ I’ll… yeah. I just need some air.

**INT. APARTMENT BUILDING - NIGHT**

The moment Riley shuts the door behind her, she begins frantically making her way down the hall. Then she realizes she has no idea where she’s going, pacing and trying to figure out where she wants to go. Anywhere but here, that’s for sure.

She pulls out her phone, scrolling through her contacts before hesitating. She only waits a second before dialing, raising the phone to her ear and waiting impatiently.

> **Riley:**   _[ into the phone ]_ Hey, are you busy? I… I just need a second –

**INT. AAA - TECHNICIAN’S BOOTH - NIGHT**

Lucas saunters back into the space, holding the door open for Riley to follow him inside. She steps back in with mild trepidation, obviously not sure she would ever be back here after 1.08.

As he settles into his usual chair, Lucas gestures for Riley to take the other seat he’s not planning to occupy. She does so, hesitantly, although her comfort will grow over the duration of the scene. Glancing out the window towards the stage, it’s odd but not unwelcome to see it darkened and empty. A moment of peace in a setting usually flooded with chaos.

Lucas occupies the space with deep familiarity, reaching in his file cabinet drawer. He tosses Riley a snack with a quick “think fast,” which she just barely manages to catch in time. He pulls one for himself as well, getting comfortable and pulling his manager binder back onto his lap to continue taking notes.

> **Riley:**  So… this is really it, huh? You really just hang out in here like this all the time.
> 
> **Lucas:**  Well, you’re here too, aren’t you? You’re the one who asked to come here.
> 
> **Riley:**  … touché.

Another stretch of silence. Riley watches him work for a second, before broaching the topic of how stage managing is going. Lucas laughs rather than answering the question, to which Riley expresses indignation. Is it so horrible of her to ask how things are going?

> **Lucas:**  Am I really supposed to believe you just dropped by here because you were dying to hang out in this musty booth with yours truly?
> 
> **Riley:**  Well it… it’s not without its charms.

Lucas raises his eyebrows at her. Not buying it. Sensing that he’s going to see right through any excuse she makes up, Riley relents and slowly opens up about how being at home got so overwhelming. It starts with the moment with Auggie, before snowballing into a full ramble about her parents, and the whole mess of a situation, and how she just feels so trapped.

He just lets her vent, listening attentively but not commenting. When she runs out of steam, she takes a moment to collect herself before apologizing for rambling. She tends to do that. He tells her that it’s fine, before asking her what exactly she wants to hear from him. What does she want him to say? She isn’t sure, so Lucas warns her he’s just going to say exactly what he’s thinking.

First, he gives her something resembling advice and states plainly that she should seriously learn to stand up for herself. Like, yeah, keeping the peace is admirable, but it’s not her job and it’s not worth getting crushed over. Literally or metaphorically.

> **Riley:**  Well, of course you wouldn’t think so. Mister Techie Revolution.

Lucas raises his hands in surrender, taking this criticism and acknowledging it’s truth. Then he switches gears, saying what she actually needed to hear – that the situation sucks. It sucks, and he’s sorry that she has to deal with it. He has a sense of how it feels when your house doesn’t feel like a home, so he’s genuinely sympathetic.

The simple act of validation is more than enough. Already a little better than before, Riley nods along before offering him a grateful smile.

Out of things to say, Lucas claims he really does have to get back to work. Being a stage manager is a hell of a lot of work, believe it or not. Riley asks if she can hang around still – she promises to be quiet – and he allows it if she really wants to waste her evening doing nothing.

* * *

**Song Cue ♫ ♪ “On My Own” as performed by Les Misérables Original London Cast  || Performed by Riley Matthews**

Lucas goes back to his binder, Riley settling into the quiet. She tries to shift her gaze elsewhere, but it inevitably ends up drifting back to him.

**INT. AAA - AUDITORIUM - DAY**

Riley performs a full rehearsal of the powerhouse anthem to unrequited love, delivering it with much more emotion and passion than her first few attempts. It’s clear she’s tapped into the headspace she needed, and she’s singing from the heart rather than getting lost in her mind. Wonder where that new emotion could possibly be stemming from…

Once she finishes the number, Shawn applauds her for an obviously improved performance. She breaks into a breathless grin.

* * *

**INT. AAA - GIRLS DRESSING ROOM - DAY**

As Riley floats in to grab her things for her costume change, she runs into Maya again. She has another snide comment to make, only this time Riley isn’t taking it. She’s got the adrenaline of a great performance in her veins and the advice of Lucas rattling around in her brain, and it pushes her to be bold and stand up for herself.

> **Riley, fiercely:** Stop talking to me like that.

Maya is surprised that she’s firing back. Riley essentially pops off on Maya for the way she and the rest of the performers have treated her since she arrived at AAA, particularly the way they hand out and withhold friendship like it’s a bartering tool rather than a basic human decency with any actual meaning.

> **Riley:** I’m sorry if you feel like you’re losing control. I’m sorry if you feel threatened, believe me, I’m quite familiar with both. But I’m not a dartboard, and I’m done taking your jabs whenever you need something to take your aggression out on. Either change your behavior – which is what I would recommend – or find someone else to play punching bag. I’m done with it!

Maya is stunned, out of words to respond. Riley grabs her costume change, bundling it in her arms and storming out of the room. On her way to pass Farkle…

**_PART IV: “Sweet Jesus, Hear My Prayer”_ **

**INT. AAA - HALLWAY - DAY**

We’re back with Charlie in the moment he discovers he’s been granted the role of Marius, and the look of excitement on his face is genuine. He didn’t get a large role last year aside from dance captain, so he’s ready for the chance to really take center stage.

His enthusiasm only grows when Zay gives him a congratulatory hug. He returns it, patting him on the back and letting the hug linger. When they pull apart, the two of them eagerly discuss what they’re going to do for their first out-of-school hangout together. As they head back into the auditorium, they have a somewhat odd but endearing exchange about the whole thing when Charlie asks what exactly they should do.

> **Zay:**  I don’t know, stuff friends do? It’s not that deep, from what I understand.
> 
> **Charlie:** No, yeah, for sure. I just – I’ve only ever really hung out with Haley and Clarissa, and Yogi one time. That was weird. Oh, and friends from church. Somehow, I don’t think any of those prior experiences would be interesting to you.
> 
> **Zay:**  God, literally, who are you. Look, I’ll just pick something and it’ll be a big surprise for you because clearly you’re not yet ready for that much Fun Responsibility.

Zay gives him a bracing pat on the shoulder, leaving him in the wings to head to the audience. Charlie watches him go, unable to hold back his grin.

**INT. GARDNER HOME - DINING ROOM - NIGHT**

That evening, Charlie has dinner with his family in their rather regal and well-organized dining room. While they’re rather proper and polished, it’s evident that there is genuine love between all members of the Gardner clan while they converse and share a meal. ELEANOR GARDNER (50s) guides the conversation, certainly the matriarch of the family.

Across the way from Charlie, AMBROSE GARDNER (50s) quietly enjoys his dinner and smiles along as his daughters ramble on about their days. Soft-spoken and genial, Ambrose is a gentle and loving father and it’s clear that Charlie deeply values their relationship. As his only son, it goes without saying that the feeling is mutual.

After his younger sisters, ROSAMUND GARDNER (13) and DAISY GARDNER (11) finish arguing about something inane – which Ambrose exchanges a goofy look with him over – Charlie pipes up and explains that he got the role of Marius in the school production of  _Les Mis_.

The family congratulates him, Eleanor more than elated. She claims she’s going to brag all about it at mass on Sunday, and Ambrose notes they’ll have to let their eldest sister Agatha know so that she and her fiance John can come down from upstate to see opening night.

Charlie hesitantly questions whether or not they think Bridgette will come, and the room immediately takes on a new tension. Rosamund and Daisy exchange a look, obviously curious what their parents are going to say. Eleanor and Ambrose sort of seize up, having a tacit exchange of their own before opting to avoid the question. It’s clear this subject is a sore and tricky one in the Gardner household.

> **Rosamund:**  Why would Bridgette come home for yet another one of your musicals when she hasn’t been back since she left for college last year?
> 
> **Eleanor:**  You know what, I think it’s time for dessert. I’m going to go grab the leftover pies from the book club – Ambrose, ice cream on yours? Girls?

Charlie allows the conversation to shift, but it’s clear he’s not satisfied with how his question went unanswered. Something about it is haunting him, not able to let it go.

**INT. DINER - DAY**

Charlie meets up with Zay for their first bros being bros outing, hitting up a diner in Queens where Zay lives. It’s not like Chubbie’s, which is always populated with kids from school, so it allows for the hangout to be a bit more secluded and relaxed.

Mostly, Charlie is excited to be in a different part of town and doing something totally out of his ordinary routine. He’s all smiles and enthusiasm as he digs into his diner grub, continually looking out the window at the world of Queens passing them by. Zay is amused by how dazzled he is by seemingly inane things.

> **Zay:**  Glad we got a window seat, then.
> 
> **Charlie:**  This is so lit. Also these fries are bomb. It’s a good thing I don’t live here, or I’d never be able to be a dancer.
> 
> **Zay:** Yeah, I can tell. You’re like a vacuum cleaner over there.
> 
> **Charlie:** I’d give up my career for these fries. I’m gonna marry these fries and move to a villa out in the countryside to live out the rest of our days in blissful matrimony.

The waitress comes in to check on them, sharing a friendly and familiar rapport with Zay. He also suggests that she may want to bring an extra plate of fries out, as his meal companion is going to need some to go. As she saunters off, Charlie smiles at him. Obviously charmed.

A song comes on over the sound system that both of them, the two of them getting into a lively discussion about the artist. Zay is evidently thrilled to have the conversation, serving how much he can brighten when he has a friend who shares his interests but isn’t, well, insane.

Charlie notes how they’re making a jukebox movie musical featuring their music, and it’s coming out around the same time as opening night. In fact, he’s pretty certain it’s the same night. He pulls out his phone to search and confirm. Zay suggests that, provided  _Les Mis_  doesn’t kill them prematurely, they should go together after opening night. They know it’s going to be awful, so they can go and totally critique the shit out of it. Charlie, feeling comfortable in this new space and good about this new dynamic, says it’s a deal. They even shake on it.

**INT. GARDNER HOME - CHARLIE’S ROOM - NIGHT**

Back from his hangout, Charlie goes and makes an addendum to his well-used and obsessively organized wall calendar. He makes a note underneath the date for opening night, adding his outing with Zay. He’s clearly excited about it.

**INT. AAA - AUDITORIUM - DAY**

Rehearsals for the musical progress in a time lapse, progressing in a similar fashion to the way they did throughout the course of the previous stories. The costumes and lighting begin to take shape, the set rising behind the actors as the techies work their way through building it.

**EXT. NEW YORK CITY - DAY**

While time lapses in the auditorium, Charlie and Zay also continue to build their friendship outside the walls of AAA. They try different food stops, check out some art exhibitions, do all the things that “friends do,” as Zay so eloquently put it. They also start texting a lot more.

Through all of these interactions, Charlie truly comes alive. He’s more uninhibited and genuinely happy than he’s been all season, showing off smiles that would truly earn the “nicest smile” moniker he earned from last year’s yearbook.

**INT. CHARLIE’S CHURCH - DAY**

The Gardners are attending Sunday mass, chatting with other churchgoers after the main congregation. It’s evident that this is a solid and tight-knit community for Charlie and his family, and he feels relatively comfortable in their midst. Still, he’s a teenager, and the chatting of older community members can only hold his attention for so long.

He zones out, checking his phone when a text from Zay comes through. He smiles upon reading it, starting to type out a reply when his father sidles up next to him and asks what he’s got that goofy grin going for. Charlie panics, stuffing his phone in his pocket and searching for an excuse.

> **Charlie:**  No I was just – I was reading an article. Funny. A funny article.

Ambrose thinks nothing of the moment, commenting that Eleanor is bragging about him and his role in the musical again. The two of them exchange a knowing look, Charlie smiling and claiming he should probably making an appearance then. Ambrose winks, nodding him along.

Charlie weaves his way through the crowd, accepting greetings from acquaintances as he goes. When he finally joins his mother, she’s holding court with three or four other women in their 50s or older. They all evidently adore him, gushing over how talented he is and how darn cute he seems to get every time they see him. How could he possibly get cuter? Doesn’t seem possible! Naturally, this somehow seems to drift into the subject of his current single status.

> **Danielle:**  I cannot believe you don’t have a girlfriend. Sweet and good-looking boy like you, it’s a miracle you haven’t been snatched up.
> 
> **Trina:**  Mm hm. If you were our age, when we were growing up? You would’ve been off the market in minutes.
> 
> **Danielle:**  Seconds!
> 
> **Maitland:** You know, if you’re at all interested, you should definitely let me introduce you to my daughter. She never comes to mass because her violin lessons are at the same time –
> 
> **Danielle:** Please, he doesn’t want a sinner for a girlfriend if she can’t even attend mass properly. You should meet my granddaughter. Now there’s a match made in heaven, I’m telling you.
> 
> **Eleanor, playfully:**  Ladies, he’s my son, not a piece of meat!
> 
> **Charlie:** Truly, I’m honored. But I’m sure your daughter and granddaughter have plans of their own for their romantic endeavors.

Still, the issue continues to be pushed. A couple of them ask Charlie why he hasn’t found a girlfriend yet, to which he doesn’t have an answer. He’s never even really asked himself that question, only now that it’s in his face he’s certain he  _should_  have an answer.

> **Danielle:**  Oh, don’t you just remember it? The way you feel when you’re with your first steady. All the butterflies, and the way your palms sweat. Oh, when you meet the one, you sure just know.

Charlie laughs awkwardly, claiming that when he gets that feeling with a girl he’ll be sure to follow through on it with them in mind. They all titter along with him. Oh, charming, cheeky Charlie Gardner! Ha ha ha.

**EXT. MOVIE THEATER - NIGHT**

Zay and Charlie are in line for the movies, comfortably discussing the other posters on display. Zay points out the promotional poster for the dance movie, reminding him of their plans to see it in just a few weeks. Charlie assures him he didn’t forget, and jokingly places a bet on whether this film will be better or worse than that one is guaranteed to be.

Charlie zones out as Zay continues the conversation, getting fixated on him as he speaks. Like, he’s paying attention to him, yet he doesn’t actually know anything Zay just said. It’s a weird moment, and Charlie has to shake it off before they head into the theater.

**INT. MOVIE THEATER - SCREENING ROOM - NIGHT**

Based on Zay’s bemused expression as the film unfolds in front of them, it’s clearly just as bad if not worse than the dance film is supposedly going to be. But for whatever reason, Charlie is still distracted. He keeps glancing at Zay’s reactions to the film rather than the film itself, and he’s suddenly oddly restless.

He starts to hit on every little thing that Danielle mentioned. He’s got butterflies, and he keeps wiping his palms on the knee of his jeans. He can’t seem to move on from the fact that their elbows are touching on the arm rest.

Zay leans over to whisper something to him about the movie, and this totally catches Charlie off-guard. His stomach flips, and whoa, Zay’s face is so close to his. He glances at him, then down at his lips. And the moment he realizes he did, he jumps up from his seat.

> **Zay:**  Dude, are you okay?
> 
> **Charlie:** I – I think I’m gonna be sick.

Charlie darts out of the row, taking the steps two at a time and disappearing. Zay gets up and starts to go after him, before a movie-goer snaps at him and tells him to get out of the way.

> **Zay:** It’s a  _bad_  movie. What are you missing? I’m doing you a favor.

**INT. MOVIE THEATER - BATHROOM - NIGHT**

Charlie bursts into the restroom, sliding to the furthest stall and locking himself inside. He paces the small confines of the stall and tries to calm his breathing, and there’s a moment where he really does think he might throw up. He drops to his knees, but the nausea passes, leaving a cold sweat in its place.

Charlie collapses back against the wall, pulling his knees up to his chest. He looks at his hands, which are clammy and trembling slightly. He’s never felt like this before, and it’s clear he’s not a fan of it. Although, it was all spurred by other feelings he’d never felt before…

**INT. MOVIE THEATER - NIGHT**

When Charlie emerges, Zay is leaning against the wall outside and patiently waiting for him. He straightens up the moment he sees him, concern alight in his features as he asks if he’s okay. Charlie examines him, trying to get his brain to work properly again.

> **Charlie:**  I think… I think I just need to go home.
> 
> **Zay:**  Okay. Okay, yeah, of course. Well, let me walk you –
> 
> **Charlie:**  No I’ll just – I’m just gonna call an Uber. Thanks though.

Zay seems like he wants to argue, still worried. But he relents, claiming he’ll see him at school tomorrow anyway. Charlie returns the sentiment in a daze, already making a beeline for the exit.

**INT. GARDNER HOME - KITCHEN - NIGHT**

Charlie is seated at the counter, already in his pajamas and listlessly munching on toast. He’s sipping cola in an effort to settle his stomach. Ambrose enters searching for a late night snack, taking in the scene with a hint of amusement.

> **Ambrose:**  Wow, cola. For the  _dancer_? You must  _really_  not be feeling well.
> 
> **Charlie:** You have no idea.

Ambrose expresses sympathy that Charlie had to leave his hangout with his friend early. When he settles into making a snack across the counter, Charlie ventures the question of whether his father knew he had feelings for his mother right away. Did he know in an instant, or did it take some time for him to come around in recognizing his feelings?

Ambrose claims he always had a tenacity towards the girls as he got older in high school.

> **Ambrose:**  I mean, it was Catholic school – you’ve seen those uniforms, right?
> 
> **Charlie:**  Ha ha. Yeah. Totally.

That remark aside, Ambrose states that he didn’t really know how major those feelings could be until he actively started pursuing them. Like, it took having his first kiss and beginning to explore that side of things that he really started to recognize them more adeptly.

Charlie internalizes this, figuring maybe that’s the solution. He simply hasn’t been trying hard enough. If he wants to like girls the way everyone else seems to expect him to, maybe he just needs to be actively pursuing them. Then he’ll feel it, and it’ll work itself out.

* * *

**Song Cue ♫ ♪ “A Heart Full Of Love” as performed by Les Misérables Original London Cast  || Performed by Charlie Gardner (feat. Yindra Amino & Riley Matthews)**

**INT. AAA - AUDITORIUM - DAY**

Lucky for Charlie, he has a kiss essentially scripted into his future for him. He and Yindra have yet to practice their kiss after “A Heart Full of Love,” so it’s the perfect excuse to put this whole thing to rest. So as the number unfolds at their dress rehearsal, never having been discussed beforehand, Charlie ends the number by taking Yindra’s face in his hands and kissing her.

From the outsider perspective, it appears  _very_  impassioned. Yindra is obviously surprised, and Riley’s jaw sort of drops from her spot on the stage, totally disrupting the flow of the number. In the wings, the rest of the class reacts accordingly. The girls are shocked, and a few disappointed.

Lucas makes a face, as does Zay next to him. He was definitely getting some vibes… but then, maybe he read the whole situation wrong. It’s unclear how exactly he feels about that.

* * *

When they break apart, it’s evident that the surprise lip lock has thrown the whole dress rehearsal into disarray. No one is really sure what to do next, so much to the point that Shawn prompts them to move onto the next scene. It’s a dress rehearsal, they can’t stop people! Lucas motivates everyone to get going, starting the next set change.

> **Lucas:**  Have you all never seen a kiss before? What are you, third graders?
> 
> **Nigel, in passing:**  Like you’ve ever kissed anybody.
> 
> **Lucas:**  Hey. Hey! Shut the hell up.

**INT. AAA - BOYS DRESSING ROOM - DAY**

Farkle and Zay are already in the dressing room when Charlie enters, somewhat dazed from his kissing expedition. They commend him on making such a bold choice, opting to just get it out of the way rather than make a big deal about it. And it sure uh, looked believable. Zay is called out for the next scene, brushing by Charlie as he goes.

But as continued conversation with Farkle reveals, Charlie  _is_  a good actor. Because it was not nearly as passionate as it seemed. Charlie states that he didn’t feel anything, clearly dejected by this admission. Farkle isn’t sure what the major drama is, but he tries to put a positive spin on it for him.

> **Farkle:**  Hey, man. I mean, it’s okay. You’re not  _supposed_  to actually feel things for your co-stars. That’s what bad actors do.
> 
> **Charlie:** Ha, yeah. No, yeah, totally. You’re right.

Still, Charlie isn’t satisfied. Farkle is called onto stage as well, leaving him alone to ruminate.

**INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT**

Charlie crosses off another day on his calendar, leaving only one left before opening night. As he goes and climbs into bed, Eleanor appears in the doorway to wish him goodnight. She tells him how excited the whole family is for tomorrow, and that Agatha will be able to make it along with her husband. Isn’t that just lovely?

It’s nice news, but Charlie can’t concentrate. He abruptly changes the subject, blankly asking her why they don’t speak to Bridgette anymore. She’s been gone less than year, and it’s like she’s been gone forever. Just totally scrubbed out of the family tree.

Eleanor can tell this subject isn’t going to be dropped easily. She sighs, cracking the door behind her and coming to join Charlie on the edge of the bed. She treads the topic cautiously, starting off with the statement that Bridgette was always the more stubborn of the five of them. As it stands right now, she’s made… choices while away that she knows they don’t agree with. She’s made these choices of her own free will, and it’s difficult to try and level with her when she’s in a place of such sin in her life right now. It’s trying, but that’s the way it is.

Eleanor emphasizes that they still love her, and she’s still family. But choices have consequences, and right now, she’s choosing to live with those. Unsurprisingly, this does not make Charlie feel better at all. As he settles into bed and his mother bids him goodnight, it seems as though he’s going to be getting very little sleep the night before opening…

**_PART V: “Sweet Jesus Doesn’t Care”_ **

**INT. AAA - SHAWN’S OFFICE - DAY**

As Maya is storming out, Lucas is making his way into Shawn’s office. They bump into one another, once again prompting Maya’s harsh rhetoric.

> **Maya:** Are your two left boots incapable of walking too? Get out of my way, gothic Butch Cassidy.

Lucas raises his eyebrows as she flounces away, turning his amused expression to Shawn.

> **Lucas:**  What did you do to her? You run over her brand new puppy, or what?
> 
> **Shawn:**  Why, you actually concerned for one of them?
> 
> **Lucas:**  No, I was kind of hoping I could take credit for it. It’s so funny when they pop off like that.

Shawn rolls his eyes, gesturing for Lucas to come in anyway when he states he asked to see him. He explains that with Isadora now in the show as an actress, they’re going to need someone to step into the role of manager. He’d like to offer him the position. Lucas is reluctant, obviously not certain himself if he’s cut out for such a major responsibility.

> **Lucas:**  Are you sure that’s a good idea? I mean, I don’t even know what show we’re doing.
> 
> **Shawn:**  … seriously?
> 
> **Lucas:**  Look, you think I pay attention to any of this? If I could get away with wearing ear plugs all day, I would.

Valid point. Still, they need someone who can take charge and Lucas has more than proven his ability to lead. Considering he orchestrated a full-on revolution, Shawn posits he could handle one small production. After a few more words of flattery and a brief pause, Lucas agrees.

**INT. AAA - JACK’S OFFICE - DAY**

Understandably, not everyone is entirely sold on Lucas’s step into such an important leadership position. Thus, Lucas ends up opposite JACK HUNTER in his office once again, although this time he at least is not in trouble. Jack simply wants to confirm that he intends to take the role seriously, as there are a lot of stakes – and money – being poured into this production.

> **Jack:**  I’m only clarifying that you realize the importance of the position you’re being offered. I need to know that you’re going to take this seriously, because I don’t want to have to clean up the mess if you get irritated or bored with it and let it derail.
> 
> **Lucas:**  Oh, how I do enjoy our little chats. Your confidence in me is earth-shattering.
> 
> **Jack:**  I’m just being realistic. I know you don’t care about the show.
> 
> **Lucas:** Oh, no, not at all. You’re not wrong about that. _[ after a beat ]_  But I do care about my crew. This reflects back on all of us, and I know it’s important to them. So I’m not going to let them down.

Honestly, that’s probably the one thing Jack can believe. Choosing to trust that Lucas is going to take the role seriously, he gives the green light. Lucas is officially the stage manager for  _Les Mis_.

**INT. AAA - AUDITORIUM - DAY**

Lucas saunters into rehearsal, meeting with the techie brigade in their usual spot. Isadora’s absence is duly noted.

> **Jade:** It’s weird without Isadora…  _[ glancing around ]_ and heavy on the testosterone.

But the show must go on, and so they will learn to operate without her. Dave hands Lucas a copy of the script.

> **Dave:** It’s “The Miserables.”
> 
> **Lucas:**  Oh, so it’s autobiographical.

Once Lucas is done snickering at his own joke, the group of them get down to business and make sure they’re all on the same page. Then, when there’s no more ducks to put in a row, Lucas exhales a pointed sigh.

> **Lucas:** Okay. Let’s put on a fucking musical.

* * *

**Song Cue ♫ ♪ “Little People” as performed by Les Misérables Original London Cast  || Performed by Nick Yogi (feat. AAA Sophomores)**

Focus jumps to the stage, where Yogi in his role as  **Gavroche**  is leading this jaunty and upbeat number. While he leads the company, the techies work on putting together the show in the background. It’s the most pointed time lapse of the episode, showing the full-on construction of the technical aspects from week one through to dress rehearsal.

As the number ends, we’re deep within dress rehearsal week. Yogi and the company are in full costume, Yogi throwing a fist in the air as he’s lifted onto the shoulders of his castmates.

* * *

**INT. LUCAS’S APARTMENT - NIGHT**

Lucas is coming back late from school, dress rehearsals keeping them well into the night. As he unlocks the door and steps into the tiny entryway, it’s clear that he’s actually having a good time with how the show is unfolding. He’s even humming “Master of the House” as he makes his way in, shutting the door behind him. Yes, Lucas Friar, humming!

The moment he turns to face the rest of the apartment, however, his humming trails off. Something about it doesn’t feel quite right, and he immediately tenses up. Pieces of the scenery begin to jump out at him as his eyes adjust to the dark – some of the furniture in the living room is askew. There’s a broken object on the floor that he nearly steps on, porcelain lightly crunching underneath his boot. He kneels down to investigate, recognizing the vase that used to sit on the side table by the door now shattered on the hardwood.

Lucas takes on a more cautious stance, zeroing in on the one light glaring from the kitchen. He calls out for his mom, but there’s no answer. Getting to his feet, he apprehensively approaches the other room. The closer he gets, the slower he moves… his hand drifts to his pocket, grip closing around the switchblade…

**INT. LUCAS’S APARTMENT - KITCHEN - NIGHT**

Thankfully, he doesn’t need the weapon, but that’s where the good news ends. Although we don’t see his mother, it’s clear from the way his expression shifts into panic that she isn’t in good shape. Kenneth Friar has certainly breezed through, that much is certain.

Lucas immediately calls out to her, scrambling to his knees and launching into action.

**INT. AAA - JACK’S OFFICE - DAY**

Lucas is back in his usual spot across the desk, alone in the office. He’s staring at the desktop, tapping his finger against the arm of the chair. Sort of present, but his mind is elsewhere.

When Jack steps in it startles him, causing him to jump. He clears his throat to cover to display of discomfort, locking eyes with Jack as he settles into the desk across from him. The whole thing is far more somber than usual, making it all feel even more disorienting.

Jack explains that Eric updated him on what happened. He’s grateful to hear that Grace is going to be okay. He also wants to know if Lucas is feeling okay, or is willing to share anymore about what he saw or experienced.

Lucas doesn’t respond. He keeps zoning out, currently focused on the small floral arrangement Jack has on the edge of his desk. It looks kind of like vase that used to be in his apartment…

Jack carries on, also stating that as far as he understands it, this isn’t the first time things like this have happened in the Friar household. Still nothing from Lucas. Jack sighs, changing tact instead and asking Lucas if there’s anything he thinks they can do for him.

> **Lucas:** _[ tearing his gaze from the flowers ]_ … Huh?
> 
> **Jack, patiently:**  Is there anything we can do for you? Anything that you need, or that I can –
> 
> **Lucas:**  No.  _[ defensive ]_ No, no. I’m fine. I don’t need anything.
> 
> **Jack:**  Just, considering the circumstances –
> 
> **Lucas:**  I’m fine. I don’t see why you would bother to ask now, since no one has ever bothered to care much before.
> 
> **Jack:**  That’s not –

Jack begins the argument, before realizing it’s a futile effort. It’s not the time, and Lucas is in no state to be launching into debates about something so sensitive. Especially when he can hardly get him to hold a conversation. He instead opts to reiterate the point that Lucas is seen, they see him, and there are options. There are systems in place to help him, all he has to do is ask.

Lucas blinks, opening his mouth to say something. Jack hesitates, hoping it’ll pave the way for a solution. Any sort of progress.

> **Lucas:**  … I have to get to rehearsal.

He gets to his feet still in a daze, leaving the office without dismissal. Jack doesn’t fight him, but it’s evident he wishes there was more he could do.

* * *

**Song Cue ♫ ♪ “Bring Him Home” as performed by Les Misérables Original London Cast  || Performed by Zay Babineaux & Jack Hunter**

**INT. AAA - AUDITORIUM - DAY**

Zay starts off the sentimental, protective ballad, in full costume and dress for the show. His performance is stellar, channeling all the emotion and depth of Jean Valjean seemingly effortlessly. It’s a tough portrayal to beat.

**INT. AAA - JACK’S OFFICE - DAY**

Still, nothing is more raw than experiencing the actual emotions of such a character. It’s not the French revolution, but Jack feels a distinct sense of dread and ache as he watches Lucas saunter off, feeling helpless to actually aid him in a way he needs it.

The phrases  _“He’s like the son I might’ve known, if God had granted me a son,”_ and  _“Bring him peace, bring him joy, he is young, he is only a boy”_  ring particularly true.

**INT. AAA - AUDITORIUM - DAY**

Zay brings the number to a close, demonstrating his lovely falsetto.

* * *

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Lucas is asleep in his chair, having dozed off while working on last minute details for the production. Isadora pokes her head in, having come by early opening night to rehearse one last time. Her entrance spooks him and accidentally wakes him up, Isadora immediately apologizing as he reorients himself with reality. He waves her off, disregarding the apology.

The two of them hang in the quiet for a moment, before Lucas informs her cheekily that this job she does ain’t easy. She’s like oh, no kidding, but she’s smiling as she does. When he expresses some doubt in his ability to pull this off, Isadora quells those concerns and assures him that she can’t think of anyone else better suited to take over for her.

As she darts off, Lucas gives her a sentiment of good luck. Unfamiliar, but he’s trying.

> **Lucas:**  Good luck. Or break a leg. You know. Whatever they say on the other side of the tracks.

Lucas glances down at his script binder, taking a deep breath. Then he gets to his feet, descending from the booth as the rest of the cast begins to assemble for call time.

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “One Day More” as performed by Les Misérables Original London Cast  || Performed by AAA Sophomores**

The cast launches into the famous first act finale, all preparing for the emotional whirlwind that is sure to be opening night. It ties all of the stories together in preparation for the final act, everyone singing their roles and coming together as a cast and crew.

In fact, even Lucas gets his due. On the lyric _“My place is here, I fight with you,”_ Lucas takes the solo as he steps up with his techie crew to brave the production as a team. Dylan, Asher, and Dave all clap him on the shoulders.

With resounding gusto, we launch into the remainder of the episode.

* * *

**_PART VI: “The Future That They Bring When Tomorrow Comes”_ **

**INT. AAA - ATRIUM - NIGHT**

Opening night is upon us! There’s nerves and excitement in the air. Outside the auditorium, family and friends alike mill about and wait for the doors to open.

**INT. AAA - DRESSING ROOM HALL - NIGHT**

Performers and techies are both in a frenzy, adjusting last minute details and shouting for one another to fix mic packs or tweak costumes.

**INT. AAA - AUDITORIUM - NIGHT**

Although the chaos continues onto the stage with the stagehands, the further out into the audience one goes the quieter it gets. Riley is making her way towards the back, jogging up the steps to the technician’s booth.

**INT. AAA - TECHNICIAN’S BOOTH - NIGHT**

Riley knocks lightly before poking her head inside, surprised to not find Lucas in his usual chair. She almost turns around, but just a little bit of further investigation solves the mystery for her.

Lucas is seated on the floor in front of the electrical cabinet, leaning back against it with his arms propped on his knees and eyes closed. It’s a setting of unequivocal quiet, a sharp contrast to the hectic nature of everything else.

It also gives Riley the distinct sense that she’s disrupting said quiet. She starts to tiptoe her way out, but Lucas already heard her come in.

> **Lucas:**  You just going to leave without saying goodbye? Seems a bit harsh for you.

Riley laughs sheepishly, stepping fully into the space as Lucas opens his eyes to look at her. She asks if she’s interrupting, which Lucas waves off. He’s just taking his pre-show bout of silence, and traditionally, no one is supposed to bother him during this ritual.

> **Riley:**  I didn’t mean to – I can come back –
> 
> **Lucas:** It’s fine. What do you want?

Riley takes the moment to thank him for being willing to listen the other day and allowing her into his space. She also appreciated his advice, and she doesn’t know how she’s going to be able to repay him for that.

> **Lucas:**  It wasn’t a big deal.
> 
> **Riley:**  … well, it was to me. So, thank you.

After a moment, Lucas nods, accepting the gratitude. The quiet between them lingers, and there’s held eye contact. Soft eye contact, at that.

JEFF MONROE enters, obviously surprised to find another person already in the booth. He glances between them, giving Lucas a quizzical look before asking if he should come back. Not that he really has much time given they’re opening the doors in ten minutes, and someone needs to set up the lights…

Riley clears her throat, offering him a smile and claiming she was just leaving. She wishes both of them luck, certain that they’re going to kill it. Lucas returns the sentiment as he climbs to his feet, telling her to break a leg now that he’s practiced the sentiment more than once.

After she leaves, Jeff settles into the lighting board chair while Lucas gathers his things to head backstage. It’s impossible for Jeff  _not_  to make a comment.

> **Jeff, teasingly:**  I thought no one was allowed up here during pre-show quiet.
> 
> **Lucas:**  Shut up.

**INT. AAA - AUDITORIUM - NIGHT**

Isadora is in the wings, peeking through the curtain to watch the audience file in. The expression on her face makes it clear just how conflicted she is about the impending rise of the curtain.

Maya finds her, coming up behind her to take a look as well. It’s looking like a full house for opening night. She starts to comment on it, but Isadora pointedly steps away from her claiming she has nothing to say to her. Maya acknowledges this, stating that she’s right, but she hopes she’ll listen because she wants to apologize.

Maya goes on to state that they are too talented to be enemies, and she doesn’t want to create a reputation for herself as a diva who can’t uplift her fellow female powerhouses. If anything, they need to stick together. She says she is certain that Isadora is going to bring the house down – not because her mother is famous, but because she’s Isadora. Surname irrelevant.

Isadora doesn’t outright forgive her, but it’s clear that the sentiment is genuine. The orchestra begins to tune their instruments, casting quiet over the audience. Maya wishes her luck, disappearing deeper into the wings to take her places.

**INT. AAA - DRESSING ROOM HALL - NIGHT**

Charlie is with Yindra backstage, the latter giving him a note about cooling it on the kiss from here on out. She appreciates his initiative to just get it over with, but they want to look professional, not insane.

Farkle passes them, on the phone with his parents in full costume. He’s evidently stressed about whether or not they’re going to be present, and given how he’s responding to the other end of the line it doesn’t sound good. Dylan pokes his head, searching for Farkle and insisting that he take his place for his entrance because they’re almost to his opening scene.

Farkle swallows his disappointment, handing his phone to Yogi who runs it back to the dressing room. Then he squares his shoulders, stepping back into character. Cold, removed, a man of the law. He pushes through the stage doors.

**INT. AAA - DRESSING ROOM HALL - NIGHT**

The full cast and crew are assembled, Shawn giving them great praise for intermission and questioning if there’s anything they all need. As the group disperses and a few performers hang back to ask him questions, Charlie is surprised when his older sister AGATHA GARDNER (22) sneaks through the doors to greet him. His face immediately brightens, and he gratefully accepts her enthusiastic hug. She knows she’s not supposed to be backstage, but she wanted to tell him how amazing he’s doing so far.

Pulling her aside and with a semblance of privacy, Charlie asks if Bridgette was able to make it or not. Aggie’s face twitches with sympathy, and she essentially has to be the one to break the news to Charlie that Bridgette… isn’t coming anywhere for awhile. She fucked it up with mom and dad, and now she has to face the consequences. Nor does she seem particularly bent on winning back their good graces. That’s just the way it is.

Predictably, this news does not make Charlie feel better. Before Aggie can reassure him, the bell rings calling the audience back for Act 2. She gives him a kiss on the cheek and tells him to break a leg, disappearing back through the doors. The mild fear in his expression after their conversation does not bode well for him.

**INT. AAA - AUDITORIUM - NIGHT**

Farkle takes the stage for his final number, marching out into the bright lights. He scans the audience, hope still intact for the briefest of moments… before it crumbles to dust. No sign of his parents anywhere amongst the full crowd of spectators, they weren’t able to make it. Because of course they weren’t.

In the next instant, he jumps into the frantic, broken energy of his final solo downright effortlessly. Maybe, perhaps, because it doesn’t feel much like acting.

* * *

**Song Cue ♫ ♪ “Javert’s Suicide: Soliloquy” as performed by Les Misérables Original London Cast  || Performed by Farkle Minkus**

Farkle completely chews up the scenery in his final scene, bringing down the house with a convincing portrayal of a man pushed to the brink. For having been in the background for most of the episode, the performance certainly serves to remind us why he’s at Adams at all.

When it comes to his “suicide jump,” Farkle simply backs his way off the set piece and allows himself to fall right into the shadows. As is typical of the production, the audience literally gasps based on how shocking the technical aspects make it appear to be.

Farkle lands safely on the cushion set up for him to catch his fall, but he looks pretty listless as he lays there in the darkness of the scenery. He stares up at the stage lights and catwalk dangling above him, not planning on moving anytime soon from the looks of it.

* * *

**INT. AAA - BOYS DRESSING ROOM - NIGHT**

Charlie is hiding in the dressing room, crouched up on the corner of the countertop and resting his head against the mirror. Dave startles him out of his fugue, informing him that there’s five minutes until “Empty Chairs,” so he should head to places soon. Charlie thanks him, jumping back to his feet and making sure his mic pack is still in place.

Zay enters, coming in to adjust his old age makeup for the finale. He compliments Charlie’s performance so far, stating that he’s killing it. Charlie returns the sentiment, somewhat robotically. Then, Zay says something that totally throws him off.

> **Zay:**  They hated it.

Charlie whips around to face him, uncertain. He asks what Zay means, and he quickly clarifies that he’s talking about the dance movie.

> **Zay:**  The movie. Critics hated it, it got horrible reviews. Totally panned. It’s gonna be hilarious to watch.
> 
> **Charlie:**  Oh. Oh, yeah.
> 
> **Zay:**  Can’t wait til after the show. Hope you’re ready for mediocrity in full-screen glory.
> 
> **Charlie:** Yeah. Yeah, ha ha.

Zay heads out, leaving him back in the dressing room alone. Charlie attempts to shake off this daze that has taken hold of him, but when he catches his reflection in the mirror, he gets stuck on it. He can’t seem to look away from it – it doesn’t feel like he’s looking at himself.

* * *

**Song Cue ♫ ♪ “Empty Chairs At Empty Tables” as performed by Les Misérables Original London Cast  || Performed by Charlie Gardner**

Through his daze, Charlie starts a shaky and emotional rendition of the tragic final Marius solo. The sequence emphasizes his feeling of disconnect, how empty the space around him is…

**INT. AAA - AUDITORIUM - NIGHT**

Translating to a truly heart-wrenching performance on stage. Charlie channels Marius’s sense of grief powerfully, almost as if he can imagine what it would be like for all of your loved ones to suddenly disappear out of your life. Like he’s spent a lot of time pondering that potential end.

Tear-stained and emotionally raw, Charlie brings the performance to a close. The applause is resounding, but it sounds far away. After a moment, he gets himself to move and exits the stage.

* * *

**INT. AAA - ATRIUM - NIGHT**

* * *

**Song Cue ♫ ♪ “Finale” as performed by Les Misérables Original London Cast  || Performed by AAA Sophomores**

As the instrumental to the first half underscores, the sophomore class emerges from the stage doors to greet their waiting audience in the atrium. It’s a joyful, energetic time, pride and love consuming every inch of the space as parents hug their talented students and flowers are handed in every direction.

Riley is greeted by Cory and Topanga, Auggie beating them to it and giving her a tight hug. She swings him around before focusing on her parents, accepting their hugs and kisses as well as flowers. Still, she feels torn between them.

Maya runs to greet Katy, who pulls her into a swaying hug. When they pull apart, she assures her that she was the star regardless of what role she had. Maya pulls her back into the embrace.

Farkle is wandering the space, accepting compliments from other families but feeling somewhat isolated. That is, until Angela appears through the crowd to offer him sincere congratulations. It’s such a relief to see her, and when she offers him a hug he returns the embrace tightly. From the emotional expression on his face, it’s clear the attention means more to him than he could ever accurately express.

Isadora is proceeding with caution through the throng of families, eyes widening when her most excited audience parts the crowd to meet her. It’s Valerie De La Cruz, in the flesh and in all her glamour. She managed to work out her schedule so she could come see the show, and she is so incredibly proud of Isadora.

Isadora doesn’t even know how to respond. She doesn’t know if she’s dreaming, or if this is a fever hallucination, or what. Luckily, she has an excuse to run away, stating that she has to take care of something real quick…

**INT. AAA - DRESSING ROOM HALL - NIGHT**

Maya catches up to Riley backstage, the latter expecting a snarky comment. Instead, Maya merely congratulates her on a great performance. She tells her it makes complete sense why she got the role, and she knows she’s going to continue to bring it with their remaining shows. A bit of a 180, but not unwelcome. Riley tentatively accepts the compliment.

**INT. AAA - BOYS DRESSING ROOM - NIGHT**

Zay is in the dressing room with the other boys, gathering his things and in an upbeat mood. Charlie’s stuff is already gone. He says goodbye to Nigel and Yogi as they head out, just as a text message comes through on his phone.

It’s from Charlie, and just one line.  **“I can’t.”**

Zay stares at the message, his smile fading. He starts to type a response but then hesitates, not sure what he would even say. It’s not clear how he’s taking this development.

**INT. AAA - TECHNICIAN’S BOOTH - NIGHT**

Lucas is closing up the booth for the night, considering there’s no reason for him to be out in the atrium. Still, he’s making little progress. He’s sort of in a state of shock, stunned that he managed to pull off such a responsibility without fucking it up.

He crashes into his chair, looking out towards the stage. All poised and ready for the next night. There’s something oddly charming about it.

Isadora pokes her head in, wondering if he’s just about ready to go. He explains that he’s just finishing cleaning up, but yeah, should be soon. Isadora takes this as her cue, a grin creeping onto her face as she starts lightly singing the words to the closing number.  _“Do you hear the people sing? Lost in the valley of the night…”_

Lucas spins around to give her a look, his disdain shifting to surprise when the rest of the techies join in on the vocalizing. They all cram into the booth, poorly but happily singing the closing lines in some sort of prideful tribute to congratulate Lucas on a job well done. He shakes his head, hiding his face behind his palm and grimacing, but it’s clear he’s endeared.

> **Lucas, embarrassed:**  You all can’t sing. Stop.

They continue on anyway, smiles wide as Dave steps forward carrying a cookie cake. He drops it down onto the table in front of Lucas, bearing a cheeky message of congratulations. They’re definitely pushing his reputation, because it’s evident that Lucas is touched.

The group of them break into applause, gearing up to share in the cookie together. Now,  _there’s_  a family. As the performers take over the vocalization…

**INT. AAA - AUDITORIUM - NIGHT**

The finale to the show unfolds on the stage, focus being drawn to each of our main players as they sing their hearts out in the emotional conclusion. Just off in the wings, Dylan and Asher lean forward to give Lucas bracing pats on the shoulder.

In the audience, Valerie makes eye contact with Isadora. Isadora blinks, not certain that she’s seeing her correctly. But she doesn’t go away. No, she is in fact there, as she’ll come to see in just a few minutes.

Who knows what all this will bring when tomorrow comes…

_END OF EPISODE._


	12. Birds of a Feather [ 1.10 ]

**Summary for the Chapter:**

> IT TAKES TWO – A duet assignment allows for blooming partnerships to flourish. Angela must decide whether or not to leave Adams behind as fate offers her a second chance at her dreams. Isadora spends time with her starlet mother.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://t.umblr.com/redirect?z=https%3A%2F%2Fopen.spotify.com%2Fuser%2Fauthorisasauthordoes%2Fplaylist%2F5R7px9cVwMaSFJQj8osIur%3Fsi%3Dg5BG-Hr4Qyq7OgiTZ0GmpA&t=MjAzZjM3YTQ5MWE0MmZmOWNiYzU4ZTFmYWY1MmM5NzUxYzE4MDU5ZCxGalRsZERMWQ%3D%3D&b=t%3AkDXCOjdyQYrhnuEmlkaYMA&p=https%3A%2F%2Ffriarlucas.tumblr.com%2Fpost%2F184556316482%2Fambition-season-1-first-impressions-pilot&m=1)! )

**INT. AUDITION HALL - DAY**

We’re following ANGELA MOORE, making her way through a narrow and winding backstage area. As she goes, guides point her in the right direction to make it to center stage. As she walks out into the bright lights, her appearance becomes more clear – polished, in a nice dress and character shoes, hair up and out of her face. Back to passing for one of the students in her class, rather than the teacher running it.

Across the way in the audience, a panel of two or three strangers ask her to introduce herself. She gives us the spiel, and then they instruct her to begin whenever she’s ready.

She takes a breath, holding it for a moment. Then she breaks into a dazzling show business smile, launching into her audition.

* * *

**Song Cue ♫ ♪ “All I Do Is Dream Of You” as performed by _Singin’ In the Rain_  Original Movie Cast  || Performed by Angela Moore**

As the song unfolds, Angela jumps from stage to audition hall to studio, running between multiple auditions. This is how she spent her weeks while the rest of the school was stressing over the musical, exerting herself in a completely different fashion.

Still, the sequence is boppy, with quirky dancing and all the charm of a starlet-to-be. It’s clear that all that talent the sophomore class is bursting with now, Angela once had it too. In fact, she still does, she’s just attempting to figure out how to get it back at center stage.

* * *

Coming to the end of the number, Angela hits her final mark. She’s breathing hard, still grinning so brightly she could blind them. Every panelist gives her the same removed, unpromising statement: “We’ll let you know.”

And she simply has to take it. Angela nods, peppering thank yous as she makes her exit.

**_Cue title sequence._ **

**INT. BABINEAUX HOME - ZAY’S BEDROOM - DAY**

Focus on the  _AAAC_ , which has been quite busy since  _Les Mis_  wrapped. Their latest post is a submission featuring a photo of Riley and Charlie during the rehearsal process, taken by the professional photographer documenting the dress rehearsal. It’s a charming photo of the two of them laughing, and the caption indicates that such chemistry onstage may mean that their love affair is continuing offstage as well…

ZAY BABINEAUX is looking at the page on his phone, obviously not convinced by the post and a little bit perturbed by it. He switches to messages and pulls open his thread with Charlie, starting a text about it. Then he hesitates, deleting it and starting over.

It’s clear from looking at their texts that they’ve had a drastic change in rapport in the last couple of weeks. As Zay scrolls back up a bit to look, it’s clear – they used to be exchanging multiple texts a day and having pretty full conversations. Now, it’s short responses from Charlie if at all, and the last two texts Zay sent have gone unanswered.

Zay is evidently frustrated by this development. Mostly, he doesn’t know what he did to cause it. He shuts off his phone, getting up to finish getting ready and forgetting it for now.

**INT. RILEY’S BEDROOM - DAY**

That’s not the only update our favorite Confessions page has made recently. Scrolling past the one featuring Riley and Charlie, another couple of posts have been made about Lucas with increasingly harsh sentiments. The rhetoric is getting more hateful the more posts about him that get made. Although it still seems as though they’re coming from the same obvious suspect, RILEY MATTHEWS seems worried as she reads it that morning.

She jumps to her messages as well, sharing a similar debate to Zay as she weighs whether or not to text Lucas about it. The difference, however, is that Riley and Lucas’s conversational thread is far more active than Zay and Charlie’s has been the last couple of weeks. Sure, the content is sort of weird – if Lucas asking her what her favorite kind of bread is at like 2AM followed by a detailed wall of text response from Riley rambling about the scones this bakery in Soho makes is any indication – but it’s consistent.

Riley opts for the more casual approach, sending along a greeting with a meme follow-up. Keeping it light and breezy. As she heads out…

> **Shawn, pre-lap:** This must be love, huh?

**INT. ANGELA’S APARTMENT - DAY**

Now that she’s back from her audition cycle, SHAWN HUNTER and Angela are spending a leisurely morning together before school. Angela drops some pancakes onto his plate, and it’s clear the aforementioned comment was directed towards the food.

> **Shawn:**  I mean, I truly think there’s never been a romance more true than a man and his pancakes.
> 
> **Angela:**  Uh-huh, just enjoy them while you can. That’s the only thing I’m capable of cooking, so don’t get used to it.

Shawn takes a bite, smiling at her and pinching her rib playfully. The two of them lean against the counters and eat, discussing how her auditions went and if she’s ready to go back to AAA. She honestly is ready to step back into normalcy for a bit, and doesn’t seem all that optimistic about her audition prospects. Shawn assures her that there’s no way they couldn’t love her, to which Angela pulls him into a quick kiss.

> **Angela:**  Egh, someone tastes like syrup.
> 
> **Shawn:**  You say that like it’s a bad thing. _[ after another kiss ]_ You know, Cory keeps complaining about how I’m never over for breakfast anymore. I might have some tough decisions to make.
> 
> **Angela:** _[ another kiss ]_ Well, you can’t do that with Cory, can you?
> 
> **Shawn:**  Well, I  _could_ , but I don’t think we’d have the dynamic that we do if that were the case.

Before they can get too caught up in each other, Angela reminds him that they need to figure out what the assignment for this week is going to be. With the chaos of her auditions and the musical taking precedence, it feels like they’ve fallen behind.

Shawn makes an offhand comment about it’s a shame they can’t show a movie like every other teacher, and that seems to spark an idea in Angela. She gives him an excited look as she finishes her pancakes, refusing to tell him anymore while her mouth is stuffed.

**INT. AAA - JACK’S OFFICE - DAY**

JACK HUNTER is meeting with ERIC MATTHEWS, explaining the full detail of information he got from Marly about the  _AAAC_  and how it operates. From what he understands, the moderator is definitely within the sophomore class as Marly was able to help him decidedly determine the rest of the school doesn’t seem to engage or follow it all that much.

Eric nods along, before asking what exactly he has to do with that. Although it’s not his first choice, Jack needs him to assist him in creating a psychological profile to track down who is running this account. If they can figure out who is behind it, they can get rid of it from the root. Who better to craft a psychological framework than the school psychologist and most connected faculty member on staff?

Eric feigns flattery, to which Jack rolls his eyes. But it’s true that Eric is the best person for the job, and he immediately launches into starting to piece together key traits.

> **Eric:**  I think our biggest core motivation here has to be a lack of control. People who do things like this, they like the decision-making nature of it since it puts other people’s feelings in their hands. The entire class is at their fingertips. They’re the center of attention, yet completely absolved of guilt or responsibility. That’s addictive for an adolescent who might feel as though they’ve never had a sense of control.

Unfortunately, that descriptor fits  _many_  students in the sophomore class, so they’re going to need to do more digging. In the meantime, Eric suggests that Jack sit down with the class gossips and see if he can get any additional intel out of them.

**INT. AAA - HALLWAY - DAY**

Riley is at her locker, keeping an eye out for students passing through the halls. She lights up when she spots LUCAS FRIAR, shutting her locker and jogging down the hallway to catch up to him. She slides up next to him as casually as she can manage, greeting him and starting up a tentative conversation with him.

Their morning chat is interrupted when DAVE WILLIAMS comes running up to them, claiming that they need to come to the booth ASAP. A major bomb has just dropped. Lucas and Riley exchange an apprehensive look before jogging after him.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Lucas enters the booth first, Riley right on his heels. They find ISADORA DE LA CRUZ seated in Lucas’s usual chair in a daze, ASHER GARCIA and JADE BEAMON attempting to get her to talk about it. DYLAN ORLANDO is sipping another juice box, there for support as well but mainly staying out of the way.

Lucas jumps into action, telling the rest of them to scram in so many words. The other three leave, Riley hesitating by the door and uncertain if that includes her or not. When Lucas glances over his shoulder and nods for her to come over impatiently, she gets the message and quickly scrambles over to join the two of them.

Once it’s down to the three of them, Riley and Lucas are able to get Isadora to speak. She explains, still in shock, that her mother will be staying in town for the next few days and essentially intends to spend time with her. This reveal elicits mixed reactions.

> **Riley:**  Oh, that’s great!
> 
> **Lucas:**  That’s bullshit.

Lucas and Riley pause, locking eyes and uncertain how to proceed. Riley clears her throat, tilting her head at Isadora.

> **Riley:** How are you feeling about it, Isa?

That’s just the problem – she doesn’t know. She doesn’t know how to feel about it. It’s evident that Isadora is just as conflicted as their initial reactions. Lucas points out that considering Valerie sort of sprung this on her, she has full rights to take her time and decide what she wants to do about it on her own timetable. If Valerie really is determined to make a connection – which he sort of doubts – then she’ll be willing to wait.

Placated for now, Isadora accepts this. Riley asks her to let her know if she needs anything.

**INT. AAA - AUDITORIUM - DAY**

As Riley and Lucas descend from the booth, the others ask if Isadora is okay. Lucas assures them she is, but that they shouldn’t ask questions and just treat her as they always do. That fiasco aside, Dave turns his curiosity on Riley and highlights the latest post that the AAAC made about her and Charlie. So, are they an item, or what?

Riley is surprised by the question, and blankly responds in denial. But her delivery is less convincing than it could be with her shock, so Dave doesn’t look all that sold. Lucas tells Dave to stop reading the stupid page for the fifteen-hundredth time, but in this case his harsh tone sort of makes it seem as though he cares more than he is letting on.

Either way, Riley is growing increasingly tired of this Instagram.

**INT. AAA - BLACK BOX THEATER - DAY**

Angela presents the assignment for the week to the class – classic musicals on film! As she explains, sometimes your show business start may not be in live theater, and there is certainly boundless overlap these days between the film industry and the theatre. What better example is there than  _Singin’ in the Rain_ , the original movie musical and one of the greatest of all time.

Despite how enthusiastically she conveys the lesson, the class is decidedly unimpressed. FARKLE MINKUS asks if they threw this assignment together last minute, which Angela scoffs at in spite of the truth. MAYA HART states that the assignment might be more exciting if there were more contemporary options, which NICK YOGI immediately follows up on by stating what they’re all thinking.

> **Yogi:**   _High School Musical!_

Zay goes on to list a dozen others –  _Chicago, RENT, Legally Blonde_  – but Shawn and Angela aren’t hearing it. They’re like you’re gonna watch  _Singin’ in the Rain_  and you’re gonna like it! Stop arguing with us, we’re the teachers! NOW GO EAT YOUR LUNCH!

**INT. AAA - JACK’S OFFICE - DAY**

Jack meets with SARAH CARLSON and DARBY WINTERS individually, the known school gossips. As he chats with them, they give him lots of random tidbits of tea that aren’t really all that helpful, but perhaps in some way  _could_  be a lead in his mystery if he spins it the right way. It’s difficult to tell what is actually substantial and worth digging into and what isn’t.

Feeling as though he’s veering towards a dead end, Jack plaintively compiles the information from both interrogations before trying to deduce his next move.

**INT. AAA - CAFETERIA - DAY**

Maya is planning out moves of her own, discussing her plans of how to make reparations with people over her misbehavior during  _Les Mis_. She laments how exhausting it is to clean up the damage from a diva meltdown, which Farkle knowingly seconds.

Zay points out that the two of them are just levels of dramatic all their own, which prompts Maya to ask him why he’s even bothering to sit with them. Shouldn’t he be sitting with Charlie, aren’t they best friends now or whatever? Where the hell even is Charlie…

Where, indeed. The group of them scan the cafeteria for their missing friend until Zay spots him at the other end of the room, already heading out. He gets to his feet and goes after him, Farkle and Maya exchanging curious looks as to what might be going on with them.

**INT. AAA - HALLWAY - DAY**

Zay calls after Charlie as he pushes out of the cafeteria doors, jogging to catch up to him. Charlie quickly searches for exits but realizes it would look worse to run, spinning and feigning friendliness as Zay approaches. Still, it’s clear that he’s weirdly nervous around him now.

Zay tries to spark a casual conversation like before, but Charlie searches for an excuse and escapes the chat. Zay watches him go, shaking his head and trying to figure out what the hell went wrong.

**INT. AAA - ERIC’S OFFICE - DAY**

Jack is pacing the floor of Eric’s office, complaining about the lack of useful intel from Darby and Sarah. He points out that Eric’s brilliant suggestion just wasted his time, but Eric calmly states that he never guaranteed they’d have much to offer. They’re teenage girls, not central intelligence agents. Jack rolls his eyes, placing his hands on his hips with a huff.

Angela storms in, evidently also wanting to vent. She hesitates when she sees Jack already present, wondering if she should come back later. They wave her off, inviting her in while Jack backs off further into the space and tries to regain his composure.

She launches into the conflict she’s having with the students over the weekly assignment, asking Eric for advice as to where this obviously perfect lesson plan could’ve gone wrong. He thinks on it before stating that the students might have a point, that  _Singin’ in the Rain_  might just be too distant for them in this decade. Jack and Angela both stick up for the film, stating in unison that it’s a classic. Angela glances at him, surprised.

> **Jack:** What? I’m the principal of an  _arts_  school, I obviously have some appreciation for the basic foundation of the institution.

Eric agrees that it’s one of the greats, but this generation doesn’t care about that. You can make them care, but you have to sugarcoat it with something they’re already familiar with. In that regard,  _High School Musical_  isn’t a bad suggestion. If you spin the whole lesson as two dissimilar products that have more in common than you think, you can make both work.

Suddenly, an idea seems to strike Eric. He claims that if they twist the narrative well enough, they may actually be able to use this lesson to their advantage in narrowing down the moderator of the  _AAAC_. It’ll also give the students a well-needed challenge, if that’s what they’re so interested in getting. Angela and Jack lean in, more than intrigued.

**INT. AAA - AUDITORIUM - DAY**

The class has returned from lunch, bubbling with curiosity at the way Angela and Shawn have welcomed them back. They gesture them towards the audience while they stand on stage, a bowl with all their names between them. Dave says what we’re all thinking.

> **Dave:** Oh my God, is this  _The Hunger Games_? Are we getting Reaped? Is this how it ends?
> 
> **Farkle:** Why on Earth would we be doing that?
> 
> **Dave:**  Don’t push me, Minki! If we get in that arena I WON’T HESITATE!

Once they’ve managed to calm Dave down, focus turns to their teachers. Shawn admits that perhaps their thinking on the original assignment was too narrow, and they’re willing to extend an olive branch to shake things up. Angela goes on to explain that they have agreed to allow  _High School Musical_  to also be studied – which the class responds to enthusiastically – only in return a new challenge will be added to the concept. Now, this assignment will be a duet.

Isadora hastily claims that she wants to work with Lucas, a statement that surprises nobody. Riley, seated a couple rows in front of them with Zay, does her best to hide her disappointment. However, Shawn states that they figured she would say that, in fact they know that each of them are probably already picking their best friend to master this assignment in their heads.

> **Shawn:** And that’s too easy.
> 
> **Angela:**  No, we’re letting  _fate_  determine the partners for this project. And may this be, as one might say, the “start of something new.”

The class chatters excitedly in response, most of them intrigued by this premise mainly because of the theatricality. Yogi nods approvingly at their use of a  _HSM_ quote. Thus, a fun little sequence ensues of Shawn and Angela announcing the duos, each alternating between picking names out of the bowl.

The first pair to be announced is  **Asher** … and  **Dylan**. They cheer and jump to their feet, hugging. Everyone else rolls their eyes or claps sarcastically.

> **Nate:**  Riiiiiiiigged.

Angela pulls  **Charlie’s**  name… followed by Shawn picking  **Zay**. This seems to please Zay, who turns to find Charlie in the seats. Charlie’s expression conveys mild panic before he manages to pull it together, giving Zay a tight smile. He might have another aneurysm.

Next up for Angela is  **Lucas**. Everyone is more than interested to see who is going to get this cruel sentence, Farkle crossing his fingers and muttering “please not me” under his breath. But no. Shawn pulls  **Riley**  from the bowl, sparing Farkle a premature death.

Riley straightens up and smiles, excitedly looking over her shoulder to lock eyes with him. Lucas is already smirking, meeting her gaze and offering her a casual nod. When she turns away, however, he does a subtle little fist pump to himself. So he’s not nearly as aloof as he seems.

**Isadora**  is paired with  **Nate** , and this seems like a relief to her. At least it’s someone she’s friends with and can work with. He offers her a fist bump which she accepts, although she does not do the “explosion” motion he does afterwards.

Angela pulls  **Farkle** , followed by Shawn choosing  **Maya**. There’s a tense beat as everyone waits to see if they throw another tantrum like “Under Pressure,” but in sharp contrast they actually respond diplomatically to such a partnering.

> **Farkle:**  At least there’ll be no mystery as to who will give the best performance.
> 
> **Lucas, blithely:**  Will you ever shut up? Just wondering.

The other chosen duos are  **Yogi & Haley, Chai & Wyatt, Dave & Yindra, Nigel & Jade, Sarah & Jeff,** and  **Darby & Clarissa**. Shawn and Angela dismiss them all to meet with their partners, and start getting to work!

Riley floats over to join Lucas, giving Isadora a smile as she goes to meet with Nate. Riley ask how he wants to tackle the assignment and when they should get together to work on it outside of class – she vaguely insinuates going over to one another’s places and Lucas vehemently rejects that idea. Before she can take his refusal the wrong way, he searches for a way to cover.

> **Lucas:**  I only – we can just meet here. Easier that way. I’m usually around anyway.
> 
> **Riley:**  … right. Totally, for sure.

**INT. AAA - TEACHER’S LOUNGE - DAY**

Jack convenes with Eric and Angela, trying to decide how to best utilize the time they have with everyone all mixed up. According to Eric’s plan, he’ll have sit downs with each student to “check in” with them, then report back to Jack anything that seems worth investigating so they can start piecing together potential prime suspects.

Angela claims she and Shawn can help come information dump. Jack questions if she has the time to spare and she assures him she does, in fact she could definitely use the distraction rather than just waiting around to hear back from all those auditions. Or, more likely, never hear back at all. So the time consumption and brain teaser is more than welcome.

Thus, Eric gears up to launch into his first set of thinly veiled interrogations.

**INT. AAA - ERIC’S OFFICE - DAY**

The next sequence passes by in a montage, each highlighted student occupying the chair opposite Eric as he casually engages them in conversation about how they’re feeling about their duet partner and the assignment.

Nigel takes the chair first, rather blasé about the whole thing.

> **Nigel:** I mean, my costume is bound to be killer. That’s one good thing about working with Jade. Although she doesn’t talk much. I kind of feel like I’m working with a mute.
> 
> **Eric:** Well, have you tried… chatting with her?
> 
> **Nigel:** Oh, yeah, but she usually just says something brief or laughs awkwardly before focusing back on the sewing machine. But it’s no biggie, she’s nice. And since she doesn’t perform, I might actually get to sing a solo for once.

Isadora has taken the mantle, beating Eric to the punch before he can even get in a greeting.

> **Isadora:**  You and I both know you don’t care about this assignment. You just want to try and see what we all might let slip about the  _AAAC_.
> 
> **Eric:** Well, now, I wouldn’t say –
> 
> **Isadora:** It’s fine, I understand. It’s getting messier by the day, so you’re desperate. But I don’t have time for this, so I’ll make it quick. I don’t know who it is, but I’m sure it’s a performer so when you find out who it is, can you tell me so I can kick their ass?
> 
> **Eric:** You’re positive it’s a performer?
> 
> **Isadora:**  It’s not me. It’s not Lucas. Nate doesn’t have a smartphone. Jeff hasn’t used Instagram since seventh grade. Asher and Jade are too nice, and do you really think Dylan and Dave could mastermind something like this? I rest my case.

Farkle, similarly, is also onto Eric’s whole scheme. Contrary to Isadora, he claims he’s on board. He has his suspicions about Maya, and he is going to use this assignment to do some digging on their starlet Blonde Beauty. He’ll be sure to keep him updated. Eric is like… right. For sure.

Jade is uncertain in the chair across from Eric, stating that she’s not sure what she’s supposed to be talking to him about. Eric tells her she can say anything she feels like expressing about the assignment. Like, Nigel. How is working with him going?

> **Jade:**  Nigel is nice. I think we’ll be fine? He also has a very nice neck ratio.
> 
> **Eric:**  Neck… neck ratio?
> 
> **Jade:** Yeah. It’s the ratio between a person’s neck length compared to their shoulder width. Some people have really long necks, you know? Or barely a neck at all. But Nigel’s is perfect. It’s proportionate. Complements his swimmer’s body, I know because he and Dave were both on swim team last year at the community center.  _[ a beat ]_  I’m stating all of this purely from a costumer’s perspective –
> 
> **Eric:**  Uh huh.

Ironically, Maya tells him the same thing as Farkle. She states that she’s always had her hunch that Farkle was behind the stupid page, and even with some of the posts that have been made about him in the past he’s the only person batshit insane enough to allow negative posts about him to see the light of day just to keep up a grander operation.

> **Maya:**  I mean, in some ways I get it. Any publicity is good publicity, so I can appreciate the level of scheming that goes into such an elaborate ruse. You have to respect it, in some ways.
> 
> **Eric:**  You do?

Kind of making herself seem just as batty, but Maya doesn’t think anything of it. She assures Eric that she’ll keep him in the loop, and he just lets it be. Smarter to let them keep an eye on each other than try to hold either diva back from a set goal.

**INT. AAA - AUDITORIUM - DAY**

Riley and Isadora are hanging out in the back section of the auditorium by the booth, waiting around for Lucas to show up. Isadora once again expresses her hesitation in hanging out with her mom, but after giving it some thought she thinks she may want to give it a shot. Given that she’s seriously considering it at all, she figures that’s a sign enough.

Riley is all for it, stating that there’s absolutely no harm in giving Valerie a chance and seeing where things go. What’s the worst that could happen? However, the two of them agree that she should probably not mention the experiment to Lucas. At least not yet.

Maya spots them on her way out to meet with Farkle, doubling back and stating that she’s glad she caught them both. She apologizes again for her behavior during the musical, reiterating that she doesn’t want to be a diva at the expense of her fellow ladies. She offers her assistance in both of their projects in whatever way they should need it as repayment.

> **Maya:**  Especially you, Riles. Since you’re with Lucas and everything… well, good luck with that. I’m here if you need to be saved.

A bit rude, but the sentiment is there. Both of them say they’ll keep the offer in mind, although Isadora doesn’t expect she’ll need it. She and Nate work well together, and there’s not much distracting her from the assignment at present. Once she gets this outing with her mother out of the way and she inevitably abandons her again, then she’ll have plenty of time to work on it.

**INT. AAA - DANCE STUDIO - DAY**

Maya arrives at the dance studio where Farkle is already set up, flipping through song books of both  _SitR_  and  _HSM_. The two of them agree that the concept of their assignment is quite simple – there’s an  _obvious_  number basically built for the two of them, and they’ll knock it out of the park. So no worries there. Instead, Farkle offers his apartment to rehearse since there’s more stuff for them to do there while they’re not practicing.

Maya is a bit hesitant, but she can’t pass up this invitation into his space if she intends to properly investigate him. So she agrees.

**INT. AAA - PRACTICE ROOM - DAY**

Zay is in the practice room, obviously waiting for Charlie. He runs through some old routines to pass the time, until finally a message comes through on his phone. He slides over to the piano bench to grab it, reading it quickly.

It’s from Charlie, claiming that something came up and he has to change their plans. There’s an apology attached, but it’s brief. Zay sighs in frustration, gathering his things. He heads out alone, obviously wounded by the dismissal.

**INT. MINKUS HOME - DAY**

Farkle is giving Maya the tour of his home, the latter floored by the sheer volume of space the Minkus clan owns. She reaches out to play around with the custom-made refreshment dispensaries bookending the kitchen, before getting distracted by the amazing view of their main living area. The far wall is made entirely of windows, letting in a ton of natural light and boasting a gorgeous view of the city far below them.

> **Maya:** I have no idea how you can live here. I think my head would explode. Especially with this view.
> 
> **Farkle:**  Eh, after the fifth or so replacement head you get used to it. Oh, if we get bored we can go bowling later.
> 
> **Maya:**  Ooh, totally. I know this great place in Chinatown –
> 
> **Farkle:**  No, like, here. We can go bowling here.

Maya obviously has choice words to say about that, but their conversation is interrupted when JENNIFER MINKUS returns home with URI MINKUS and EZRA MINKUS. Both of the boys are stunned to see another person in the house with their loner older brother – let alone a  _girl_. And a  _pretty_  girl!

Jennifer seems surprised as well, but more thrilled than anything else. She eagerly makes a point of introducing herself to Maya, jumping into hostess mode and asking if there’s anything she can get her. As Maya points out, seems like they have everything they could possibly want already. She doesn’t know what she could begin to ask for.

Ezra is all over that potential new friend business, darting over and throwing himself all over Maya. He launches into a dozen little facts about himself and states that Farkle is his favorite brother, so if Maya likes him too then he knows they’ll be friends. Maya seems slightly embarrassed by this notion, laughing nervously. Farkle gets Ezra to back off, telling him that they need to practice so he needs to buzz off for a hot minute.

Once Ezra is out of their hair, Jennifer insists that Maya stay for dinner. Stuart won’t be able to join them, unfortunately, but they’d be happy to have her. Farkle eyes her curiously, wondering if she’ll accept the invitation. She asks what they’re planning on having, and the response is something fancy, delicious, and far better than the microwave meal she’d make at home.

> **Maya:**  Hell yeah, I’m in. Can I take some to go?

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Riley and Lucas are attempting to decide what the hell to do with their duet. They don’t even know which film to pick, as Lucas has never seen  _High School Musical_  nor  _Singin_ ’. Riley is definitely a bit like… who even are you, and in an effort to actually get a grasp on him as a human being she asks to see his phone and look through his music. He hands it over, not exactly hiding anything.

> **Riley:**  This is so… depressing. This is like, all Fall Out Boy. Are you okay?
> 
> **Lucas, deadpan:** I’m trying to make myself go deaf, so. The louder the better.

Riley insists that she’s going to broaden his musical palette, but first they need to figure out this project. It’s more difficult than usual since him performing is well out of the question, so she’s feeling stuck.

CHAI FRESCO and WYATT LIVINGSTON show up, kicking the two of them out on the basis that they need to set up their lighting for their number. Lucas asks Chai if they got approval from Jeff, to which she rolls her eyes but presents a sheet of paper with Jeff’s express written consent for her to operate the lighting board on that day.

With no other arguments, they get up to leave. As they’re heading out, Wyatt asks Lucas offhandedly if he’s enjoying his treatment on the confessions page lately. Lucas states it’s funny that he thinks he’s braindead enough to follow the page at all, but Riley takes the comment closer to heart. She doesn’t like the sound of it, nor the way Wyatt so smugly said it. Something to investigate later…

**INT. CHUBBIE’S DINER - DAY**

Isadora meets with VALERIE DE LA CRUZ at the diner, sitting opposite one another at one of the window booths. Valerie is clearly elated to be spending time with her, despite sticking out like a sore thumb in her designer clothes amidst the plainness of the dive. She explains that she’s only got a few days in town before she has to fly back for a film shoot, but she’s so grateful they’re able to find some time together.

Valerie eagerly asks Isadora about her time at AAA, what her favorite classes are, and what it was like to perform in the musical. She hardly gives her the chance to respond, getting way ahead of herself and chattering about Isadora’s future in the industry. She even theorizes on where she could go to college – maybe in LA! – and how she can help coach her in performing if she’s closer to Hollywood.

Isadora, overwhelmed, cuts her off and claims that the musical was a one-time thing. Not the rest of her life or her true calling. Sorry to disappoint. Valerie is uncertain how to proceed in the conversation from there, offering a weak smile.

KATY HART brings their food over, happily greeting Isadora and asking her how school is going. Valerie pointedly waits for Isadora to introduce her, the latter doing so after a moment’s hesitation. Katy shakes Valerie’s hand enthusiastically, applauding her work and stating she’s a big fan before turning her focus back to Isadora. She saw her in  _Les Mis_ , and thought she did an excellent job. Valerie clearly feels a bit out of place, considering how familiar Isadora and Katy are with one another.

**INT. JACK’S APARTMENT - NIGHT**

The four educators are assembled at Jack’s, eating a late dinner and going over the profile as they attempt to rule out potential suspects. They’ve turned the ordeal into quite the investigative operation, the traits and profile written up on the whiteboard while they pin up photos of the sophomore class or put them in the discard pile. They’re also going through each student record, looking for additional evidence.

Some student files are far heftier than others. Shawn is idly flipping through Lucas’s, by far the thickest of the bunch.

> **Shawn:**  Damn, I didn’t know he did  _that_ … kind of impressive –
> 
> **Jack:** Do I need to explain to you why this troubles me, or can you figure it out for yourself?

In the midst of this, Angela gets a call on her cell. She excuses herself and darts into the kitchen to answer, while Eric redirects the attention of the Hunters. He claims that the current class assignment is actually perfect, because it allows them to see who seems to fall out of step with others. “Birds of a feather flock together,” and the one who isn’t falling into line might just be their next clue.

Angela disrupts the brain trust, stumbling back into the room with a look of shock on her face. Shawn jumps to his feet and immediately asks if everything is alright, before she breathlessly announces that she’s gotten a callback. She’s gotten a callback for one of the Off-Broadway productions! The mood of the room instantly brightens, all of them gathering to congratulate her. Jack runs into the kitchen and grabs a bottle of champagne, popping it open and pouring the four of them a glass to celebrate.

* * *

**Song Cue ♫ ♪ “Good Morning” as performed by _Singin’ In the Rain_  Original Movie Cast  || Performed by Angela Moore, Jack Hunter, and Eric Matthews**

After Shawn states that this feels like a lucky night, Eric corrects him and points out that it’s already morning as they’ve been working past midnight. It’s a brand new day, and seemingly a lucky one so far. Angela launches them into “Good Morning,” she, Eric, and Jack singing and dancing around his apartment.

Shawn doesn’t participate, but he’s fond as he watches them goof around together. It’s definitely charming, there’s no doubt about that.

* * *

**INT. AAA - HALLWAY - DAY**

Isadora is on her way to the auditorium when she gets a new text from Valerie. She claims she had a wonderful time yesterday, and wonders if they could do something else today? Whatever Isadora wants, something she’s passionate about or would want Valerie to see. Isadora is stunned, definitely not anticipating that there would be a second outing.

She tries to grab Lucas as he passes by in a flurry, obviously heading somewhere with purpose. He claims he doesn’t have time to stop so if she can keep up she can talk, so she jogs to match pace. She first asks where the hell he’s going that’s so important, but he weirdly dodges the question and instead turns the tables back on her since she said she needed to talk.

Isadora relents, getting into the problem and admitting that she met with her mom. Lucas assumes this is the problem in it of itself.

> **Lucas:** You did  _what_? Well, what did you  _think_  would happen? We know she’s not worth your time.
> 
> **Isadora:** No, that’s not – it actually wasn’t that bad. The thing is that she weirdly wants to hang out  _again_ , and I –

She doesn’t manage to get much out of the conversation with him, as she gets distracted by Nate when he catches her and asks what they’re planning to do with their assignment. Lucas slips out of her grasp, leaving the point moot for now. If she’s being honest with herself, in this particular scenario he probably wouldn’t have been much help anyway.

**INT. AAA - HALLWAY - DAY**

Outside the black box, Riley chats with Zay. He’s venting about how Charlie cancelled their rehearsal, and he doesn’t want to fail this assignment if he’s going to insist on being so weird about things. Especially since to him, it feels like it came out of nowhere. Riley offers him sympathy, but she doesn’t have any brilliant solutions. She wonders if maybe the continued posts about the two of them are making him act weird, as she knows it’s definitely starting to bother her.

As Zay heads off to class, Lucas swoops in and falls into step with Riley. He hands her a paper bag without much explanation, and when she opens it she finds her favorite pastry from the shop she rambled about in text the other day. She’s stunned.

> **Riley:** Oh my God, what? You didn’t need to get me this.
> 
> **Lucas:**  I was in the neighborhood. Anyway. Okay. See you later.

He disappears just as quickly as he appeared, leaving Riley a bit whiplashed. She glances over her shoulder and watches him go, her surprise shifting into fondness with a breathless scoff. She takes a bite of the scone, unable to hold back her smile.

**INT. AAA - ERIC’S OFFICE - DAY**

Eric is working through his next round of check-ins, the sequence unfolding the same as the previous one. YINDRA AMINO is the first one in the hot seat, commenting on how much drama there is at the school. She wishes everyone would just talk to one another about their shit rather than bitching behind each other’s backs. It’s not a bad point, but it’s also somewhat similar to the sentiment that the  _AAAC_  promotes. Eric takes a note of that.

Charlie is sort of out of it during his meeting. He doesn’t have much to say, and he really doesn’t have anything he wants to share about Zay. Sensing there’s something else going on, Eric asks if he’s doing okay. This snaps Charlie out of it, prompting him to rebuild his charming facade. Totally fine, all good here!

Clarissa seems pretty content with how the school year is unfolding. She doesn’t mind working with Darby, she’s mostly nice, but she talks a lot and it can be a bit overwhelming. She also never stops talking about the  _AAAC_  as if every single bulletin it posts is a hot take.

> **Clarissa:**  Like, is Charlie potentially dating Riley really all that interesting? It’s totally obvious that she’s into Lucas.
> 
> **Eric:** Seriously? You think so?
> 
> **Clarissa:**  I mean, that’s just my opinion. But yeah. Lord knows  _why_ , but she definitely likes Friar.

Eric takes a note on that, but more for personal reasons than in pursuit of mystery-solving. When Yogi takes the hot seat, he turns the tables back on Eric.

> **Yogi:**  How are  _you_  doing, Mister Eric, sir? Are you having a good April? No one asks you that very often, do they?
> 
> **Eric, touched:**  … no, no they don’t, Yogi. I’m doing pretty well. Thank you so much.

**INT. AAA - HALLWAY - DAY**

Farkle is at his locker, taking notes in a small journal about all the things he “observed” about Maya as if he’s some great detective. They’re all silly, and not useful at all. When Maya approaches it startles him, and he tosses the notebook haphazardly into his locker before shutting it with a flourish. When he attempts to compensate with a casual air and reclines against his locker, Maya eyes him as if she’s even more convinced of his insanity than ever.

She asks him if he’s ready for their performance today. Farkle admittedly forgot they arrogantly scheduled themselves early, but he’s like yeah. For sure. That’s fine. Let’s do it, then, chop chop. Their conversation is permeated with an oddly suspicious tone, the two narrowing their eyes at one another until they march off to go do the damn thing.

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Bop To The Top” as performed by _High School Musical_ Original Cast  || Performed by Maya Hart & Farkle Minkus**

The duo performs the song basically written for the two of them, and while their vocals are perfect as expected there’s something off about the performance. They’re constantly eyeing one another and pushing the other into the spotlight rather than struggling for it themselves. It’s more reflective of their current undercover missions they think they’re pulling off than an actual collaborative duet.

It’s weird, to say the least. The reactions of their classmates make that very clear. Zay squints, evidently trying to figure out what the hell broke between the two of them. Lucas and Riley aren’t paying any attention, passing notes to one another. Dave and Yogi are enjoying it though, dancing in their seats.

* * *

When they wrap, the hesitation before the class applauds is telling. Maya and Farkle exchange a look, knowing they blew what should have been a simple win for them both. Angela approaches them tentatively, trying to figure out what the hell happened just now.

> **Angela:**  … you all want to try that again at the end of the week?
> 
> **Maya / Farkle:**  Yes, please.

**EXT. AAA - LUNCH COURTYARD - DAY**

Isadora is with Nate at lunch, Asher and Dylan running through potential performance ideas in the background. Whatever they’re planning, it seems to include quite a bit of over-the-top movement. Either that, or that’s just the way Dylan dances.

Isadora details how she can’t hang around long for rehearsals, as she thinks she’s going to be having more meetings with her mother. Nate is more than understanding, telling her to take whatever time she needs as they’ve got the schematics down for their concept. They just need someone to perform it. Isadora states that she’s already taken Maya up on her offer to step in where necessary, and this seems to be the line in the sand for Nate.

> **Nate:** I am  _not_  working with Miss Prima Donna. And did you see the way she bombed today? Nuh uh. No way.
> 
> **Isadora:**  Oh, okay. That’s fine. You’ll have to practice 24/7 then, but if you’re good with that, then sure.
> 
> **Nate:**  Good with what? Practice  _what_?
> 
> **Isadora:** The dance. If you don’t want Maya to do it, you’ll have to. I could probably ask Zay to give you some lessons… when are you free?
> 
> **Nate:**  … Broadway Barbie can stay.
> 
> **Isadora:** That’s what I thought.

All that aside, Nate wishes Isadora luck with her mom. He knows it’s a lot to process, so the crew is definitely here for her if she needs it. She continues to hold her chin up and shoulder on alone, but she tells him she appreciates the sentiment.

**INT. AAA - DRESSING ROOM HALL - DAY**

As Maya emerges from the dressing room, Farkle informs her that they’re going to have to change their rehearsal plans now that they’ve been granted a second chance. His parents have a major business meeting at their place, so that’s a no-go. He sort of invites himself over to Maya’s, which she refutes at first, trying to come up with an excuse. But she’s not quick enough, and it just makes her look like she’s got something to hide.

When Farkle posits that very question, Maya stammers before caving and stating they can work at her place. So he’s gotten his in…

**INT. AAA - CORY’S CLASSROOM - DAY**

Riley and Lucas’s practice has hit a snag again, the two of them now stuck in Cory’s classroom as the auditorium is occupied with people who actually know what the hell they’re doing for their project. There’s absolutely no creative energy in the space, and for Riley, it kind of feels like being surrounded by the reminder of her parent’s impending divorce.

Lucas isn’t getting very far either, a poorly drawn series of sketches of the divas fleeing various horror-movie-esque scenarios all he has to show for their hour of work. That decides it, then. Riley leaps to her feet and gestures him up. They’re getting a change of scenery.

**INT. AAA - DANCE STUDIO - DAY**

Charlie and Zay finally have their first meeting as partners. Charlie sort of apologizes for blowing him off earlier in the week, but it’s weak in its delivery. Zay disregards it, shrugging it off and claiming he’s still glad they got partnered.

> **Charlie:**  For real?
> 
> **Zay:**  Yeah. I mean, I know there’s no better match as far as dancing, and we’re guaranteed to blow everyone else out of the water. Especially given how Maya and Farkle really stepped in it.
> 
> **Charlie:** Yeah, that was weird, right?
> 
> **Zay:**  Also, I don’t know… gives us the chance to hang out. I like that.
> 
> _[ Charlie can’t help but smile, even with his bouts of hysteria. He dips his head down, lightly pressing the keys on the piano. ]_
> 
> **Zay:** Also, to be honest, I kind of got the feeling you were avoiding me.
> 
> _[ Charlie slams on the keys accidentally, straightening up. ]_
> 
> **Charlie:** What? No. I’m not – that’s… ha ha. That’s silly…

Zay raises an eyebrow at him, Charlie clearing his throat and averting his gaze again. Zay changes the subject, stating that whatever he’s got going on, they can just forget about it. They should focus on what they’re both good at. The assignment is going to be simple, so let’s just knock it out of the park.

* * *

**Song Cue ♫ ♪ “Moses” as performed by _Singin’ In the Rain_  Original Movie Cast  || Performed by Zay Babineaux & Charlie Gardner**

Thus, transition into their rendition of “Moses.” Zay is right, as it’s clear that both of them are at the top of their game when dancing – even more so when it’s together. They’ve never had a duet partner quite like the other.

**INT. AAA - AUDITORIUM - DAY**

The number continues from its early stages in the studio to the stage, where they’re performing it for the class. The tap dancing is next level yet seemingly effortless, and the two play off one another extremely well. The whole class is into it, cheering along and clapping at particularly impressive moves. They’ve even got the attention of Riley and Lucas, the former grinning proudly while the latter is obviously trying to figure out how  _anyone_  manages to do those things with their body and not kill themselves in the process.

* * *

They end the performance back to back, an homage to the original. When the class breaks into applause and they drop their stage stance, they double high-five and clasp hands. For just a second, Charlie allows himself to enjoy the thrill of a good performance with a friend rather than descending into panic. It’s the happiest and most natural he’s seemed in weeks.

**INT. SVORKSI’S COFFEE - DAY**

Isadora and Valerie are seated in the cozy chairs by the window at Svorski’s, discussing the classic film noir movie they just saw together at the vintage theater a couple blocks over. It seems like it may be something that actually connects them, as Isadora is excited rambling on about the cinematography and directing while Valerie is able to comment proficiently on the performances. How these all come together, both of them can discuss. It’s clear when Isadora is talking about film, she really lights up.

**EXT. CENTRAL PARK - DAY**

Riley and Lucas’s search for a change of pace has taken them to Central Park, Riley leading the way as they enjoy the fresh air. The two of them also manage to actually carry on a conversation, sharing an easy rapport and their share of playful banter. Something across the way catches Riley’s attention, eagerly gesturing Lucas along behind her as she jogs across the sidewalk.

**EXT. BASKETBALL COURT - DAY**

A few other groups of students are messing around on the outdoor court, but an open hoop and spare basketball seem to be just waiting for the two of them to take advantage of them. Inspired, Riley goes and scoops it off the asphalt, suggesting that maybe getting energized will help them with their creative problem-solving.

Lucas doesn’t seem the least bit convinced, asking if Riley even knows how to play. She raises her eyebrows at him, questioning whether or not he’s scared of getting beat by a girl. She fakes him out by pretending to toss the ball at him, laughing when he flinches and raises his hands protectively.

Now she’s just being incendiary for the sake of it. Lucas hesitates, then takes her up on the challenge. He follows her with a shake of his head as she dribbles out onto the court.

* * *

**Song Cue ♫ ♪ “Getcha Head In The Game” as performed by _High School Musical_  Original Cast  || Performed by Asher Garcia (feat. AAA Sophomore Techies)**

The perhaps sole musical tribute to basketball underscores Riley and Lucas’s 1:1 game, also the subject of Asher and Dylan’s project.

**INT. AAA - AUDITORIUM - DAY**

Intercut with their game, Asher takes the stage in a workout jersey and sort of half dances around with the basketball. Dylan and the rest of the techie boys act as his teammates, and while the performance itself isn’t all that impressive and sharing screen time it’s Asher’s vocals that are the star of the production. He can clearly sing, even if he never gets to actually do it.

**EXT. BASKETBALL COURT - DAY**

Suffice to say, neither Riley nor Lucas are star athletes. She’s a klutz, and he hasn’t played sports since like fifth grade. It’s mostly just the two of them shuffling around each other and trying to grab the ball. But it’s fun, it’s a distraction, and it loosens them up around one another. Lucas calls Riley on her fouls for traveling like five times, and she’s constantly backing up against him on the basis of “blocking.” Lucas peels his dark sweater over his head so he’s down to his white tee, and in some ways that’s kind of break through all its own.

When Asher gets to the belting bridge (“ _My head’s in the game, but my heart’s in the song. She makes this feel so right…_ ”), the ball is back in Lucas’s hands. Riley raises her eyebrows at him, basically daring him to try and get a shot past her. This level of playful comfort is new for him, and it feels like he’s playing more than one dangerous game with her.

But he goes on anyway. The two of them continue to play the game as the dance break unfolds, growing more and more physically comfortable around one another and willing to get a little rough to get the rock. Eventually they fully give up on actually playing the game the way it’s intended, more so just roughing around with one another. Riley keeps cracking up, and Lucas hasn’t smiled so much consecutively throughout the entire season.

When they get to the end of the sequence, they’ve switched gears to trying to just get one successful shot through the hoop. They manage this with Lucas grabbing Riley by the waist and essentially lifting her towards the basket, finally scoring a basket. _Woo!_

* * *

**INT. MAYA’S APARTMENT - DAY**

Maya leads the way into the small studio apartment, not bothering to wait up for Farkle and his predictably shocked reaction. He was aware she was on scholarship, but he had no idea what that actually entailed. Considering how glamorously she keeps her appearance, getting the full picture of how strained her finances are is a whammy.

Before he can comment one way or another, Katy emerges from the bathroom as she finishes dressing for another shift at the diner. Maya begrudgingly introduces her to Farkle, but Katy is more than happy to meet one of Maya’s friends. She expresses how much she enjoyed his performance in  _Les Mis_ , to which he’s grateful. All in all, he’s easily charmed by Miss Hart before she flutters off to work.

Farkle states that he had no idea the cool waitress at Chubbie’s was her mom. Maya sort of shrugs it off, pushing the fact that they should really get to rehearsing rather than spending any more time lingering on the status of her family wallet.

**EXT. BASKETBALL COURT - DAY**

Lucas is crashed on the asphalt, Riley collapsing into a sitting position next to him after retrieving water from her backpack. She offers the bottle to him, which he initially refuses, but when she insists on the basis of staying hydrated he accepts it. He sits up on his elbow and they pass the water back and forth, agreeing that while the game was fun and a good distraction, it didn’t exactly fix their creative dilemmas.

Riley sighs, lamenting how it’s not as though they both don’t have skills to bring to the table. When Lucas makes a face she reiterates the statement, emphasizing that both of them have something to offer, they just can’t figure out a way to unify them into a production that highlights both.

Lucas, cynical as always, subtly posits that maybe some things just aren’t meant to work together. He’s referring to the assignment, but the other implications of the statement go without saying. Riley clearly wants to disagree, but Lucas’s phone ringing disrupts the conversation.

He expresses confusion when he states that it’s Asher, fully sitting up and answering the call. Riley listens curiously, attempting to catch whatever she can from the other end of the line. It’s evident that Asher is calling out of concern, and Lucas has to tell him to slow down and start over given that he’s talking so fast. He climbs to his feet, pacing as he attempts to figure out what the hell Asher is saying.

When he hangs up, Riley asks if everything is okay. Lucas shrugs, nonchalantly explaining that apparently the  _AAAC_  has really had a hyperfixation on him the past couple of days. Asher saw it and was worried about him seeing it, so he wanted to check in. Whatever.

> **Riley:**  What? What do you mean the page has a hyperfixation?
> 
> **Lucas:** I don’t know, I don’t check it. Guess people have lots to say about me.
> 
> **Riley:**  That’s horrible. We should do something –
> 
> **Lucas:**  I mean, I already knew they hated me. Now they’re just saying it anonymously online. If it makes them feel better to talk shit like cowards, that’s their choice.

Lucas can act as dismissive as he wants, but Riley isn’t sold. She frowns, the gears in her head already turning a mile a minute.

**INT. MAYA’S APARTMENT - NIGHT**

Farkle is seated in the chair by the window, looking out at the lights and scenery of an evening in her neighborhood. Maya rejoins him a minute later, handing him a mug of cinnamon hot chocolate and claiming he better enjoy it, because it’s the only speciality dish they have here at the casa de Hart. He thanks her, taking a sip of it and assuring her it’ll do.

As they settle in, Farkle states that he likes her apartment. Their conversation walks a similar line to their exchange in GM Money, Farkle comparing the cozy and warm simplicity of her space to the vast and empty excess of his. He asks her why she works so hard to keep it a secret, and Maya states that she doesn’t want anyone to discount her or treat her differently. She works hard to make it clear she’s there because she deserves it, and she doesn’t want anyone getting the idea that she earns anything because of charity.

Farkle assures her that he won’t do that to her. He’ll be just as obnoxious and competitive as always. Maya rolls her eyes, nudging him lightly with her elbow. He promises her that he won’t say anything if she doesn’t want people to know, but if she chose to share it and anyone gave her shit, he’d come to her defense. She’s the only one actually challenging him, after all, so no one else exactly has the wherewithal to say anything.

It’s a true moment of friendship for the two of them, finally coloring their understanding of one another with something more human. Something true. Farkle offers his mug in mock cheers, Maya clinking hers against his before they both take a sip.

**EXT. HOTEL - NIGHT**

Valerie and Isadora arrive at her expensive luxury hotel, calling it a night. Surprising Isadora, Valerie expresses that she wants to meet her foster family. Maybe she could come over for dinner? In the next couple of nights? Isadora is uncertain, but she tentatively agrees.

**EXT. MATTHEWS APARTMENT - NIGHT**

Lucas walks Riley home, the latter insisting that he didn’t have to walk all this way. He claims he wanted to, and the least he could do would be to make sure she gets home safely.

* * *

**Song Cue ♫ ♪ “Singin’ In The Rain” as performed by _Singin’ In The Rain_ Original Movie Cast  || Performed by Farkle Minkus**

As the opening tones of the classic Gene Kelly track fade in, Riley and Lucas exchange their goodbyes. The moment is reminiscent of Don and Kathy’s farewell in the film before the big title number, only we know Lucas isn’t going to be the one breaking into song.

> **Riley:**  Be careful getting home, okay? It kind of looks like it’s going to rain.
> 
> **Lucas:**  Oh, fitting. Didn’t realize the universe was theatrical too.
> 
> **Riley:** _[ tilting her head ]_  You can come in, if you need to. I mean, my dad might have a heart attack, but –
> 
> **Lucas:**  No, no, it’s fine. I’ll survive. But I’m not dancing. I’m not Gene Kelly.
> 
> **Riley:** Ooh, very good. It’s almost as if you’ve been paying attention this week.
> 
> **Lucas:** Yeah, well, I have a pretty good partner. So.

The moment lingers between them, Riley unable to hold back her soft smile.

> **Lucas:**  Goodnight, Riley. See you tomorrow.
> 
> **Riley:**  Goodnight, Lucas.

Riley hesitates, taking one last look at him before she steps into the building. True to her word, a light rain begins to fall just as she disappears. Lucas looks up towards the sky, shaking his head in disbelief.

**EXT. MAYA’S APARTMENT - NIGHT**

The rain has increased to a steady downpour as Farkle departs Maya’s for the night. He doubles back under the awning of the building for a moment, but his mood is so pleasant that he decides he doesn’t much care. Lucas may not be a Gene Kelly, but Farkle certainly is.

Thus, he launches into the song, light and upbeat from how his friendship has developed with his former arch rival. He dances around the city in the rain, paying true tribute to the film that started this whole lesson in the first place. Ah, classic…

* * *

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Singin’ In The Rain” as performed by Mint Royale || Instrumental**

Jamming to a remixed rendition of the tune Farkle just finished slaying, Maya performs the dance routine for Nate and Isadora’s techie spectacle. The lights and effects are super cool, and Maya’s skill for movement really pulls the whole concept together.

* * *

As they’re giving group notes, Wyatt says something shady about how Isadora didn’t seem to do much to contribute to the project. Lucas snaps back that he doesn’t seem to do much as a human being, but he’s hardly perturbed by the comment. No, in fact, Wyatt is having a grand time this week given how horribly the  _AAAC_  is treating Lucas, which he once again alludes to.

**INT. AAA - ERIC’S OFFICE - DAY**

Eric is down to his closing rounds of interrogations. Nate kicks us off, seemingly relatively chill about the whole assignment despite what’s going on with Isadora.

> **Nate:**  I kind of had to do all the shit, but it’s not a biggie. I totally get it, you know? Your bio mom coming back into your life, let alone a famous one… that’s tough, man. Makes me grateful for my boring, normal ma.

Jeff has even less to offer about Sarah, except that all she does is gossip. Haley talks about how weird Yogi is, like, just in general, before switching gears to how odd Charlie has been acting all week. He didn’t even talk to her at lunch, so now she’s worried that she’s ruining her chance with him that she’s been banking on for like two years.

> **Haley:**  Like, I don’t know, I thought we had a good thing going. But now I’m getting the feeling he might be into someone else?

Dave is antsy when it rolls around to him, as Isadora told him about how this whole check-in process is meant to help track down the moderator of the Instagram. He’s honestly the last person that should’ve been given this information.

> **Dave:**  Oh my God, do you think Yindra is running  _AAAC_? Am I partners with a delinquent?
> 
> **Eric:** The page isn’t a criminal offense, Dave.
> 
> **Dave:** Just tell me. Am I fraternizing with a felon? Just let me down easy.

Dylan and Asher are there together, Eric gently asking if the two of them have done anything without the other in the last year and a half. They don’t acknowledge the query, instead taking the opportunity of meeting with him to express their concern over how harsh the Instagram has turned on Lucas in the last week.

**INT. AAA - HALLWAY - DAY**

And the page speaks for itself, as we see while they continue their meeting. Riley finally checks it herself, disturbed by what she discovers. True to what she’s heard, the posts have essentially become a dogpile on Lucas, everyone empowered by the constant negativity of the last few posts to say whatever the hell they please about him.

> **Asher:**  We know he says he doesn’t care, and he doesn’t really check it anyway, but everyone keeps talking about it.
> 
> **Dylan:** That shit messes with you, no matter how tough you are.

Riley is obviously livid. She marches off, heading to her own check-in with Eric.

**INT. AAA - ERIC’S OFFICE - DAY**

She continues on the same train as Asher and Dylan, showing Eric the state of the page so he can see it for himself. She highlights how it’s simply become a trash session, and Lucas became the target because one person had a personal vendetta and made it their mission to get everyone else in on the game too.

She’s nearly choked up as she reiterates the fact that she went through her own period of bullying just last year, and it’s impossible not to care about it. Lucas can claim he’s indifferent, or that he’s not seeing it. But she’s seeing it, and she cares, and she wants something done about it. She wants something done about all of it. 

> **Riley:**  I know he’s not the easiest person to deal with. He’s abrasive, and sarcastic, and puts such an effort into being aloof it’s basically like he’s exerting  _more_  energy than if he just operated like a normal human being. But he’s also clever, and… surprisingly sweet, and  _fiercely_  loyal.
> 
> _[ Eric can’t look at the posts anymore, dispirited. He shakes his head, putting her phone back on the desk. ]_
> 
> **Riley:**  I know he’s a lot, but… he’s a good person. He’s good, and he doesn’t deserve this.

Eric takes in this speech, raising his eyebrows.

> **Eric:**  Wow, Clarissa was so right.
> 
> **Riley:**  What?
> 
> **Eric:** Nothing.

He hears her, and he claims they’re doing everything they can to get this page taken care of. He circles back to what she meant when she said someone had a personal vendetta. Riley states that Wyatt has had it out for Lucas ever since the fight, and he’s been gleefully reminding Lucas about the page basically all week like he would know more than anybody what’s on there. She’s certain he’s enjoying it. Eric definitely takes this note…

**INT. AAA - HALLWAY - DAY**

Still emotional, Riley confronts Charlie after running into him in the hall. She pulls him aside, starting to talk about the posts concerning them on the  _AAAC_. Charlie grows flustered and defensive, shying away from her grasp and asking what makes her think he would know anything about who posted them. She claims she doesn’t care about that – what bothers her is that he’s not doing anything to  _refute_  the rumors, and that’s a problem too. If they were really friends, as he keeps saying they are, he would do something about it.

She leaves him to ruminate on it, storming off. Charlie blinks, obviously unprepared for such a direct confrontation.

**INT. AAA - BLACK BOX THEATER - DAY**

The class is watching the conclusion of  _Singin’ in the Rain_ , lights dimmed and “You Are My Lucky Star” filling the classroom. While Farkle, Maya, and Zay are engrossed in the film as expected, Dylan has dozed off in the back of class. Dave and Asher are picking at him, doodling on his arms and laughing over how he literally can’t stay awake during a movie to save his life.

> **Asher:** Every  _single_  time.

Isadora and Lucas are paying attention, the former much more subtly engaged than the latter. Riley isn’t paying much attention at all, unintentionally spending more time watching Lucas next to her.

As the film wraps, Shawn hits the lights and takes the center of the room. Taking over for Angela as she’s off at her callback, he pulls the class into a discussion about what parallels exist between this film and  _High School Musical_.

> **Dave:** There’s music?
> 
> **Shawn:** Excellent observation, Dave. Spot on.

Zay gets the ball rolling on a more serious take, pointing out that both films share the central premise of shaking up the status quo. Farkle elaborates, explaining that there’s cases of identity crisis in both. Shawn agrees, honing in on one of the key themes not only to the films but also to what their class might be experiencing right now – not everyone is as clear cut or boxed in as they appear, and perhaps what is in front of the curtain isn’t the full story or true reality.

**INT. AAA - HALLWAY - DAY**

School is dismissed for the afternoon, students filtering out of the building. Zay finishes up a chat with Yindra by the black box, the two of them exchanging their usual handshake before she bounces. He’s about to head out as well, but something catches his attention.

Across the hall, Charlie is hanging at his locker and chatting animatedly with Haley, Clarissa, and Yogi. For a second Zay thinks about joining them, but something makes him hesitate. Charlie seems so comfortable, lively, his usual upbeat tenor –  _far_  from how he’s been behaving around him lately.

Zay absorbs this, the realization stinging. All the more because they seemed to be clicking so well, and he has no idea what he did wrong. Isolating himself somehow, yet again.

He backs off, heading in the other direction.

**INT. FOSTER HOME - DINING ROOM - NIGHT**

Valerie has joined the Van Hersching clan for dinner, a majority of the foster family assembled. KAREN VAN HERSCHING and STEPHEN VAN HERSCHING (50s) are trying their best to impress her, being overly accommodating and far from natural. It’s not every day you have a celebrity over for supper, after all.

Most of the younger siblings, like JULIAN NORTH (12) and AVA MORGENSTERN (10) keep asking Valerie inane and invasive questions. Isadora can tell she’s not exactly comfortable, and the whole situation feels like a train wreck she can’t look away from. The distaste reaches its full strength when TESSA CHAN (14) excitedly flutters back into the room with her boombox, begging for the opportunity to perform her dance routine to one of Valerie’s greatest hits.

Although Valerie doesn’t decline, Isadora can’t take it anymore. She gets to her feet without excusing herself, marching out in an embarrassed flurry. Valerie hurriedly gets up to follow her out, after thanking the Van Herschings for a lovely evening.

**INT. FOSTER HOME - ENTRYWAY - NIGHT**

Isadora is making her way towards the steps to escape when Valerie catches up, asking her where she’s going and why she stormed out. Isadora tells her to drop the act, that she could see how uncomfortable she was in there and how she clearly doesn’t like what she’s seeing. She wanted things to be easy, for everything to just fall into place, but it’s not. This is the way things really are, regardless how much glossy Hollywood shine she wants to throw on it.

> **Isadora:**  This obviously wasn’t what you were expecting. And I can’t blame you for that, because how could you possibly know what to expect with absolutely zero perception to start? You should just go back to Los Angeles and forget it. Go back to the spotlight where you belong, and leave me here where I belong. In the dust.

Valerie is hurt, but she gets the message. She bids her goodnight, stepping out into the night with nothing more to say. Isadora stands on the steps for a moment, screwing her eyes shut and piecing herself back together.

It’s more difficult, this time around. Now that she’s gotten a taste of a good time with her mother, it’s going to be that much harder to retrain herself to live otherwise.

* * *

**Song Cue ♫ ♪ “When There Was Me And You” as performed by _High School Musical_  Original Cast || Performed by Isadora De La Cruz**

Isadora kicks off this solo ballad to heartbreak on the steps, making her way back up through the foster home as she retreats to her room. She delivers it with all the gusto that Gabriella did in the original rendition, only the sting of disappointment that she’s feeling goes far deeper than your first high school crush.

**INT. FOSTER HOME - ISADORA’S ROOM - NIGHT**

She makes back into her own space, the walls of her emotionally resilient facade beginning to crumble. She got her hopes up and saw them dashed, just like Lucas warned her would happen.

As the song comes to an end, she crawls into bed and pulls the covers over her head, willing herself to disappear. She shuts the light off, hiding in the darkness.

* * *

**INT. MINKUS HOME - NIGHT**

Farkle is working at the kitchen table on homework while Jennifer types away on her laptop, doing family budgeting. She eyes Farkle as he works, finding a way to broach the topic of his sudden new friendship. She explains how much she likes Maya, how she seems to be well-suited to him. She’s a spitfire, that much is for sure.

She digs – as only a Jewish mother can – about whether or not Farkle and Maya are like  _that_ , which Farkle adamantly refutes.

> **Farkle, disgusted:**  I am  _with_  Maya? You mean do I  _like_  her? I’d sooner woo the raccoon that lives in the attic.

Jennifer is amused by his blatant rejection – and clearly doesn’t quite buy it – but either way she claims she’s happy. She’s so happy to finally meet one of his friends, and see him getting along so well with them. She knows AAA is cutthroat, so it’s simply… nice.

She asks if he thinks Maya will come around to visit more often, because she’s more than welcome. Farkle hesitates, contemplating the question. Then, he smiles.

> **Farkle:**  Yeah… yeah, I think she will.

**INT. AAA - HALLWAY - DAY**

Charlie is at his locker, hiding behind the door as he types on his phone. He’s crafting a message to  _AAA Confessions_ , requesting that the recent posts about him and Riley be taken down. Although this sentiment seems noble, it’s visible that there have been previous messages exchanged between him and the account. Curiouser and curiouser…

He impatiently waits for a response, glancing both ways down the hall as the typing bubble appears on the other end. When it responds, it’s statement is simple at first – it’s a no can do. No posts are to be removed once posted, a risk of which he should already be aware.

Then the account follows up again with a slightly cheekier message. “It’s toothpaste, Charlie. It’s not going back in the tube. That’s the way the princely cookie crumbles…”

Charlie frowns, huffing before slamming his locker shut.

**INT. AAA - AUDITORIUM - DAY**

Farkle is in the auditorium alone, going over dance moves and meandering away his lunch hour. He jumps when the hall door slams open, Isadora storming into the audience. He watches as she marches up to the booth without a word, poking her head inside. When she pulls back, frustrated, he opts to speak up.

> **Farkle:** Jackass isn’t in there. If that’s who you’re looking for. Believe me, I wouldn’t be here if he were.
> 
> **Isadora:** Well, where is he, then?
> 
> **Farkle:**  Rehearsing with Riley, I’d assume. Considering I have no clue what the two of them could possibly pull together, I’m guessing they need all the time they can get –
> 
> **Isadora:**  God, why can’t anyone just be  _WHERE THEY’RE SUPPOSED TO BE_?

Isadora lets out an angry groan, stomping her way down the steps. Farkle advises her to take a chill pill and she turns her frustration on him instead.

> **Isadora:**  Coming from you? That’s –
> 
> **Farkle:** Yeah, yeah, I’ve heard it all before.

Farkle settles down on the edge of the stage, asking her what the hell she’s so riled up about. Normally she wouldn’t give him the time of day, but the emotions are so overwhelming at this point that she doesn’t know where else to put them. So she blurts them out, lamenting how everything is changing and no one is acting the way they’re supposed to and she just wants everything to stop. She just wants things to go back to the way they’re meant to be.

After a moment, Farkle ventures a comforting speech. He claims he’s not trying to sound like a theater nerd, before launching into how what she’s going through is kind of exactly the whole point of  _High School Musical_. She wants things to stay the same, to stick to the status quo (Isadora rolls her eyes), but maybe the status quo  _isn’t_  the way they’re meant to be. She has to try to be open to change, or else they’re never going to know either way.

> **Farkle:** I get it, believe me, I do. When the whole revolution was going on and then we had to do all your positions, I hated that feeling of not knowing how to handle things or be the undisputed best. I mean, really hated it, like I wanted to strangle the way of the world as I knew it in my ironclad grip until it wouldn’t ever try to shift on me again.
> 
> **Isadora:** Does this vaguely psychotic monologue have… a point?
> 
> **Farkle:** But even with all that, the class has actually sort of come together, and that’s made my life easier too. I actually can say I have friends now rather than rivals, which who knows how long that’s going to last, but it’s nicer than before. I shudder to admit it, but sometimes you have to relinquish that control and certainty that you know best and just let the universe… I don’t know. Do its thing.

Despite how it’s not what she wanted to hear, the conversation actually does have a calming effect on Isadora. She thanks him, hesitantly, clearly unnatural for the two of them. It’s probably the first nice conversation they’ve ever exchanged.

**INT. AAA - CORY’S CLASSROOM - DAY**

Riley and Lucas are back in Cory’s classroom after school, nearing their last chance to pull something together between them. Riley is pacing the floor, nearly rambling about potential ideas but constantly second-guessing them or vetoing them before Lucas can even comment. She expresses her frustration over how difficult this turned out to be. She can’t help but think about what Lucas said about some things just not being meant to go together.

She glances at Lucas, seated on top of one of the desks and gazing at the floor, lost in thought. God, she doesn’t want him to be right.

* * *

**Song Cue ♫ ♪ “The Stage Is Set” as performed by Singin’ In The Rain Original Movie Cast || Instrumental**

Suddenly, Lucas speaks. He murmurs something about how maybe they’re just not looking at the assignment from the right perspective. When Riley asks what he means, he lifts his head, obviously thinking.

Then, the ghost of a smirk passes over his face. He locks eyes with her, hopping off the desk and instructing her to follow him.

**INT. AAA - AUDITORIUM - DAY**

Lucas leads the way into the auditorium, darkened after the last rehearsal of the day. He claims that they haven’t had the chance to actually  _work_  in the proper setting. Their scene unfolds in an homage to  _Singin’ in the Rain_ , mimicking the exchange between Don and Kathy as he sets the stage for [“You Were Meant For Me.”](https://www.youtube.com/watch?v=PqsrVQfNYPc)

Although Lucas is nowhere near as smooth as Don Lockwood, it’s evident from how he navigates the stage and starts piecing together a design that he has a natural knack for it. Even if he doesn’t consider it a talent himself, his eye for production and the technical side of things is impossible to ignore. It shines as he walks Riley through their potential set-up, so enthralled with the puzzle of it that he leads her along by the hand without thinking about it.

He turns away as he gets to setting up the lights from the wings, Riley commenting that maybe just dancing would be enough. She hasn’t exactly gotten to do much dancing this year like she had hoped. Lucas offhandedly agrees, finishing up and spinning around to face her.

The moment he actually looks at her–center stage, beautifully lit, exuding excitement and stage presence, he’s speechless. True to the  _SitR_  dedication…

> **Lucas:**  You sure look lovely in moonlight, Riley.

Now that they’re in the proper setting with a semblance of an idea figured out, Riley states, does he still believe it’s not meant to be? Is there no possible way this duet is going to work out?

> **Lucas, softly:** Guess we’ll find out.

And that they will. That they will…

* * *

**Song Cue ♫ ♪ “You Were Meant For Me” as performed by _Singin’ In The Rain_  Original Movie Cast  || Performed by Riley Matthews (feat. Maya Hart)**

**INT. AAA - AUDITORIUM - DAY**

Taking her up on her earlier offer, Maya covers the Gene Kelly vocals for their assignment. But she’s far from the focus of the production – no, that lays securely with Riley, who performs a ballet solo to the music of the track. It’s a true showcase of her ability when she’s given the chance to take it at her own pace, and she’s downright darling in her soft lavender dress.

So where does Lucas fit into all this? Well, the secondary star to the performance is lighting design, which responds and moves with Riley and the music almost as if it’s dancing, too. The lights are her duet partner, and Lucas is taking special care to operate them perfectly from the booth. It’s truly an effort combining both of their abilities, creating a delicate spectacle quite unlike anything AAA has seen before. Angela and Shawn are particularly impressed.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

As the number draws to a close and the focus returns to Riley once again, poised on stage, practically shimmering in the stage lights, we’re thrown to Lucas in the booth. Although he was concentrating for a duration of the performance, it’s in this moment that he allows himself to relax. He lets out an exhale, completely fixated on Riley so far away.

Front and center stage, exactly where he thinks she belongs.

* * *

**INT. AAA - ERIC’S OFFICE - DAY**

Farkle passes by Eric’s office before stopping, poking his head in with a curt knock. Eric greets him and asks if he wants to step inside, but Farkle turns him down. He’s just heading off to lunch with Maya, so he can’t stay long. Eric comments that their collaboration must not have gone too horribly, then.

That’s actually what Farkle wants to talk to him about. He informs him that he no longer holds suspicions that Maya is running the  _AAAC_. His assumptions, it seems, were incorrect. 

> **Farkle:**  Hey, just like the movies from class. How about that.
> 
> **Eric:** How about that.

Eric thanks Farkle for letting him know, sending him on his way. Turning back to his paperwork, we see that Maya was hardly one of their prime suspects at this point anyway. No, they’ve narrowed down their likely culprits to just four – Yindra, Chai, Wyatt… and Farkle himself.

**INT. AAA - DRESSING ROOM HALL - DAY**

Charlie emerges from the dressing room to head towards the auditorium, catching Zay heading in from the main hall. He blinks out of his daze and tries to catch up to him, but Zay marches past him without a word.

**INT. AAA - AUDITORIUM - DAY**

Charlie chases after him into the wings, asking what gives. Zay whips around and turns the same question back to him, obviously floored that Charlie has the gall to act like the indignant one of the two of them. Considering his behavior all week, Charlie doubles back and tries to begin explaining that he’s just been distracted because of some… things he’s had to take care of, alluding to his battle with the  _AAAC_.

But Zay’s not buying that. His behavior has been cold towards him basically since  _Les Mis_ , and he’s sick of taking a backseat or being dismissed when it’s evident Charlie is his usual handy-dandy self when he’s hanging out with other people.

> **Zay:**  If it’s such an effort to like… exist when you hang out with me, then you can save yourself the trouble, okay? Don’t overexert yourself.
> 
> **Charlie:**  That’s not true. You have no idea how far from the truth –

Zay doesn’t want to hear it. He starts to walk away but then doubles back, lamenting how much the situation sucks. It sucks, because he thought they had a good friendship going. They had something  _real_ , but he supposes that’s how things happen. This world is full of mirages, and the curtain always has to fall eventually. Whatever.

Charlie is stung, obviously regretful for having hurt his feelings when that was never his intention. As he’s heading towards the seats, Wyatt makes commentary on their little spat from where he could see it sitting with Yogi and Nigel.

> **Yogi:** You couldn’t even hear what they were saying.
> 
> **Charlie:** Yeah, maybe you could mind your own business for once, Wyatt.
> 
> **Wyatt:**  That’s hilarious, coming from you. Whatever you two were saying, it clearly wasn’t exactly a wanted conversation.
> 
> **Nigel:**  Just give it a rest.
> 
> **Wyatt:**  I’m just saying, you gotta watch what you say. Words are toothpaste, they can’t go back in the tube.

As Charlie is walking away, something about that statement gets to him. He frowns, warning bells going off in his head. It’s just a tad too familiar…

**INT. FOSTER HOME - ENTRYWAY - DAY**

Isadora makes her way through the house to answer the door, Julian calling over his shoulder that it’s for her. She makes some offhand commentary about how Lucas knows he doesn’t have to wait for her to come inside – but it’s not Lucas standing out on their front steps.

Isadora freezes as Valerie smiles at her from the doorway. She asks if she has a moment to spare.

**EXT. FOSTER HOME - DAY**

Valerie and Isadora sit out on the front steps, the former not wanting to leave without a proper goodbye. She assures Isadora that despite what she may believe, she had a wonderful time with her this week.  _All_  of their time was worth it. Isadora doesn’t quite believe it, but it’s clear that Valerie means every word.

She states that she’d love to watch one of Isadora’s short films one day. Isadora lifts her head from staring at the sidewalk, eyes wide.

> **Isadora:**  I never told you about that.
> 
> **Valerie:** Do you think you had to? Darling, the way your face lit up when you got to talking about the cinematography and directorial choices from that ancient film we saw the other day, you didn’t have to say anything else. I may be a classic Hollywood bimbo, but I’m no ditz. I do have eyes, at least.

Isadora clarifies, hurriedly, that she doesn’t think Valerie is a bimbo. Or a ditz. And she does appreciate that she took the time to come out and see her, but… she just isn’t sure she’s what Valerie wants her to be. She enjoyed performing in  _Les Mis_ , and she’s open to the possibility of more singing in the future – maybe – but filmmaking is her passion. Her dream has always been to be a director, and that’s just who she is.

Valerie emphasizes that whoever she feels she is, that’s all she wants her to be. And she’ll do whatever she can to help.

> **Valerie:**  In fact, as soon as I get back I’ll see if I can set up a meeting for you with one of my friends, Stevie. Spielberg? You’ve probably seen a couple of his films.
> 
> **Isadora, blankly:**  Uh… yeah. I have.

Isadora tries to say that Valerie doesn’t need to do anything for her, but she’s happy to. She’s in full momager mode, ready to help her daughter’s career take off in her industry as well. Isadora is flattered but also embarrassed as any teenager would be, and there’s a charm to that.

There just may be hope for this dynamic yet…

**INT. ANGELA’S APARTMENT - DAY**

Shawn comes in through the front door, already rattling off some thoughts he had on the train ride over about what their next assignment could be. He also had some thoughts for next year, so it’s clear he’s planning ahead for the two of them. However, he stops cold when he finds Angela standing in the kitchen, seemingly in shock.

He runs over and puts his bag down, assuming that something is wrong. She’s got tears glossing her eyes, but they’re not necessarily negative – it’s complicated. When he asks her what’s going on, she explains that she got her first return call from one of her callbacks. Based on her reaction, Shawn assumes the worst.

> **Shawn, soberly:**  … no?
> 
> _[ There’s a beat. Then, with a watery smile, Angela shakes her head. ]_
> 
> **Angela:**  I got an offer.

This seems like amazing news. She did it! Shawn pulls her into a hug, asking her if she’s going to take it. Oh, she has to take it, doesn’t she? Angela tells him to hold on a second. She hasn’t explained the full offer.

She states that the offer came from one of the touring companies. So it’s a part – and a great one, at that – but it means traveling. It means uprooting herself and leaving. It means, given how long the tour is, potentially saying goodbye.

Shawn absorbs this. He doesn’t know how to react, now matching her emotion. Angela doesn’t know how to react, really, either.

Suddenly, she has a major decision to make.

**INT. AAA - ERIC’S OFFICE - DAY**

Charlie is seated across from Eric, letting him know about the weird parallels between his conversation with Wyatt and things he’s… observed on the  _AAAC_. He claims it could just be a coincidence, but he thought Eric should know. He thanks him, and immediately moves to pass the information on to Jack…

**INT. AAA - JACK’S OFFICE - DAY**

… who brings in Chai for a chat, Wyatt’s project partner for the week. Chai comments that it definitely seems as though the  _AAAC_  has gotten more reckless as of late, so she wouldn’t be surprised if he had something to do with that. He’s pretty pissed off all the time, ever since he got his clock cleaned for saying stuff about Isadora. 

> **Chai:**  Like look, I get it, people talk shit all the time. Petty stuff is whatever, you know? Like do I care if someone makes some dumb post about me and my split ends – which, not true – because they’re jealous or having a rough week or whatever? Not really. But some of the stuff he says… it’s like, you don’t say that, you know? You have to have personal boundaries. Know the rules to the game, and all that. Be smart.

By the end of their conversation, all signs really do seem to point to Wyatt as the next step in the mystery. Whether or not he’s the operator is still up for debate, but he clearly has involvement one way or another, and it’s time to get to the bottom of it.

**INT. AAA - AUDITORIUM - DAY**

Isadora enters the auditorium, still searching for the chance to catch up with Lucas. They’ve been out of each other’s orbit for what feels like the entire week, and it feels weird to not have him in her corner. She heads towards the stage, calling out for him.

He responds from somewhere above, informing her that he’s up in the catwalk. She takes the spiral staircase behind the prop loft gate to join him, suddenly traipsing dozens of feet above the stage below.

It’s a totally different view from so high above. Lucas is crouched on the main walk as promised, just finishing up adjusting one of the lights. Isadora makes some nonchalant commentary about how this is one of her favorite places in the auditorium, how she should spend time up here more often. Feels easier to breathe, so high above everything else.

The two of them settle on the base of the catwalk, Isadora’s legs dangling over the edge. Lucas props his elbows on his knees, settled in the silence for a moment.

> **Isadora:**   _[ not looking at him ]_ Been kind of a weird week.
> 
> **Lucas:**  Yeah.
> 
> **Isadora:**  … not bad, though.
> 
> **Lucas:**  No. No, not bad…

It’s clear that both of them have a dozen things they could say, lots of things they’re itching to say – but for whatever reason they’re suddenly shy. Like although they know could say anything to each other, there are now things they want to keep to themselves. Have something that is solely theirs to ruminate over.

Despite not having seen them herself, Isadora does check in with him about what conspired on the  _AAAC_  this week. She knows he claims he doesn’t care, but she wants him to be honest with her. Is he okay?

Lucas claims it’s fine, in complete honesty he didn’t even really notice. It’s all just the usual bullshit from the other side of the divide, and he doesn’t have energy to spare on it. Besides, he hardly had time to think about it. Too much other stuff distracting him this week.

Still, even for everything they won’t say, both of them know how the other spent the week. At least, the general concept.

> **Lucas:**  How’s your mom?
> 
> **Isadora:** _[ after a moment of thought ]_  She’s alright. How’s Riley?
> 
> **Lucas:** _[ fiddling with the light, not looking at her ]_ … she’s alright.

From the light smile on his face, Isadora can tell that’s an understatement. But she’s not going to push the issue for now. For now, she just wants to enjoy the comfort and peace being so high above it all – and in the company of her best friend.

Let the universe do its thing, or whatever.

**INT. AAA - AUDITORIUM - DAY**

The class is assembled for the end of the week, and the change in the atmosphere is palpable. They’re actually sitting as a full class rather than in their pseudo-segmented sides. The conversation is light and jovial, such a stark contrast to how the beginning of the year was.

Angela makes her way into the auditorium, glimpsing them from the wings. It hits her that if she takes this new opportunity, all of this might change. She may actually be leaving them behind.

She marches onward, pulling herself together as only an actress can and gathering their attention front and center. She applauds them for how they’ve handled the assignment, taking the challenge in stride and even challenging her to be better in the process. And they have come such a long way since the beginning of the year – all they have to do is look around.

Maya, Zay, and Farkle exchange looks, seated in the same seats they were at the beginning of the year but far better friends than before. Riley and Lucas are seated together, and with that the gap between the techies and the performers has become non-existent. She wants them all to remember this feeling, of how easy it is to break the status quo – the class groans somewhat at that one – before inviting them up for the final number of the week. And she knows they know the words, so they better belt it out considering they insisted on it…

* * *

**Song Cue ♫ ♪ “We’re All In This Together” as performed by High School Musical Original Cast || Performed by AAA Sophomores**

Angela isn’t wrong when she claims there’s no way these Generation Z kids don’t know this number. It’s a fun, goofy, energetic party on the stage as they bring the house down with this classic, finally a semblance of balance between performer and techie taking the stage. Some of that energy from 1.08 is present in the jam session, that’s for sure.

Charlie leads the school chant dance break, Asher and Jeff his main back up. All of our main players take a line or two for solos, but others do as well – Yindra, Nigel, Chai, Clarissa. Nigel dances with Jade, and it looks like she’s about to pass out.

As the last chorus kicks off, Riley even manages to pull Lucas into the revelry. Still with an eye roll, mind you, but no longer is he self-isolated to the sidelines. And the full class brings it on home with a flourish, breaking into laughter and in high spirits.

Still, one factor is noticeably absent…

**INT. AAA - FRONT OFFICE - DAY**

As the class rounds out the number, Wyatt remains seated in the front office. Jack emerges from his office, giving him a look and gesturing him into his office. Without a word, Wyatt rises and passes by him to enter the room.

* * *

As Jack closes the door behind him, we hang on that moment of uncertainty. Yes, this mystery may just very well be narrowing to its conclusion…

_END OF EPISODE._


	13. Before the Storm [ 1.11 ]

**Summary for the Chapter:**

> CH-CH-CH-CHANGES – The sophomore stars throw their hat in the ring for the chance to attend a highly regarded performance summer program, but only three students can progress from Adams to the final audition. Lucas has a daunting decision to make.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://t.umblr.com/redirect?z=https%3A%2F%2Fopen.spotify.com%2Fuser%2Fauthorisasauthordoes%2Fplaylist%2F5R7px9cVwMaSFJQj8osIur%3Fsi%3Dg5BG-Hr4Qyq7OgiTZ0GmpA&t=MjAzZjM3YTQ5MWE0MmZmOWNiYzU4ZTFmYWY1MmM5NzUxYzE4MDU5ZCxGalRsZERMWQ%3D%3D&b=t%3AkDXCOjdyQYrhnuEmlkaYMA&p=https%3A%2F%2Ffriarlucas.tumblr.com%2Fpost%2F184556316482%2Fambition-season-1-first-impressions-pilot&m=1)! )

**INT. AAA - HALLWAY - DAY**

The halls of Adams greet us for the penultimate episode, cutting between shots of the setting we’ve come to know and love. Through windows in the doors, students rehearse in the music and dance studios. The locker hallways are pristine and decorated for the end of term. Graduation memorabilia is all around.

As the scenery shifts, the voice of Principal Hunter lectures on the importance of the school, everything that the institution stands for. Next to bulletin boards where students are welcome to jot down their summer plans to share, a display case in the atrium shows photos and mementos from the past school year. Les Mis is certainly included, as well as the winter showcase.

> **Jack:** Adams exists to give students the chance to pursue a passion. Something important to them, so pivotal to their future endeavors and true happiness that they can’t even fathom doing anything else. It’s a silly notion, to some, but I’ve always admired that piece to it. That chance to give a young mind the power and potential to do whatever it is that they’ve always dreamed about.

Focus eases in on one advertisement on the bulletin board in particular – an informational flyer about the  **Kossal Summer Program** , which has been referenced multiple times since the pilot. In bold lettering, the text “rising juniors only,” seems sharply emphasized.

> **Jack:**  More than anything, I try to give our students as much opportunity as possible. Getting here was the first step, and then I want to help them reach higher. Achieve further. Find access to doors and avenues that they may not have even known existed or felt capable of entering. I work hard to create that space. I work hard with all of the faculty and staff here to foster that environment, where any student can come to a safe, inclusive environment and throw their hat in the ring.

**INT. AAA - JACK’S OFFICE - DAY**

It becomes clear why JACK HUNTER is monologuing. He is in his disciplinary meeting with WYATT LIVINGSTON, following their deduction that he is the one running _AAA Confessions_.

> **Jack:**  Thus, it’s always such a shame when someone deems to take advantage of this space, and twists it into something it shouldn’t be.

Wyatt doesn’t seem all that impressed. Jack questions him on why the hell he would create a page like this, or barring that, be a part of it in the first place. Wyatt claims he didn’t make the Insta, but Jack presses the question again. Not buying it.

Wyatt dispels Jack’s rosy view of the school, claiming it’s no oasis for creativity and collaboration. It’s a cesspool of egomaniacs and cutthroat competition, and he knows it. The whole reason that the  _AAAC_  even works at all is because of the collective terrible attitude at the school. It’s a “safe environment” for them to take shots at each other and be as repulsive and reductive as they all actually are.

Jack snaps at this, claiming that’s not entirely true. He references the  _very_ targeted attack on a single student just a few days ago with Lucas, which Wyatt clearly orchestrated and was not just the full petty whimsy of the student body. Unable to fully deny this, Wyatt admits his hand in making some of the initial posts, but he didn’t  _orchestrate_  anything. If anything, the Lucas White Trash Dump Day is a perfect example of what he’s talking about – he lit a match, and the sophomore class set the whole forest on fire with it.

> **Wyatt:**  Besides, it’s not my fault that everyone hates Lucas. He does that to himself.

Jack doesn’t want to hear anymore. He doesn’t think he can face it. He moves onto discussing punishment, positing what he believes are fair consequences – expulsion, effective immediately. This finally seems to knock Wyatt off his high horse. He claims that’s bullshit considering one student can beat up another and not get kicked out, but he makes a couple of mean anonymous posts and he’s on the chopping block?

Jack argues that it’s the principle of the thing, and that every situation is different. The situation between him and Lucas was an isolated incident with bigoted implications, whereas the page has been an ongoing toxic presence at the school –

> **Wyatt:**  But I don’t deserve to get punished for it!  _I didn’t create the page!_
> 
> **Jack:**  Fine. Fine, if that’s the case, then tell me who did. Tell me who should take the fall for this, and we can renegotiate your involvement.

Wyatt can’t, because he doesn’t know. Nobody does. Jack takes his silence as an admission of guilt, but it’s evident that he is truly distraught about taking the consequences for it. Perhaps the severity of the punishment may be a bit too harsh…

After a beat, Jack claims that he will take some time to determine the proper punishment. Until then, Wyatt would be smart to keep his head down and enjoy his last couple weeks of sophomore year  _without_  further trouble.

Wyatt rises in a huff, storming out. Jack waits until he exits before letting his composed facade crumble, obviously overwhelmed by the chaos this whole situation has caused.

Hopefully, it’s about to come to an end. But not without some major decisions…

**_Cue opening titles._ **

**INT. AAA - BLACK BOX THEATER - DAY**

ANGELA MOORE is at her desk in the black box classroom, fretfully flipping through the schedule of the touring spot she’s been offered. She’s cross-referencing it with her personal calendar, obviously not thrilled with how much it’s consuming of her current life.

She’s been waiting so long for an opportunity like this. It’s her dream, yet now that it’s in front of her she doesn’t know what to do with it. Angela lifts her head, gazing blankly at the empty classroom around her. Wondering what it would be like to leave it behind…

SHAWN HUNTER breaks her out of her daze, entering with coffee and a breakfast bagel. He hands it to her and she takes it gratefully. He tentatively asks if she’s made any decisions yet, to which she gives a definitive no. Still very much in the realm of indecision.

Shawn seems relieved that it’s not a guaranteed yes, but being in uncertain territory isn’t much better. But uncertain ground they’ll continue to tread…

* * *

**Song Cue ♫ ♪ “Ain’t It Fun” as performed by Tufts Beezlebubs || Performed by Nigel Chey, Yindra Amino, Chai Fresco, Nick Yogi, Clarissa Cruz, and Haley Fisher**

**INT. AAA - AUDITORIUM - DAY**

NIGEL CHEY leads this acapella rendition, playfully rehearsing with his fellow sophomores. It’s one of the few numbers we’ve seen so far that gives due focus to the other performers in the classroom, and it gives an upbeat (if subtly ominous) musical start to the episode.

He dances around the stage with YINDRA AMINO, CHAI FRESCO, NICK YOGI, CLARISSA CRUZ, and HALEY FISHER. In keeping with the truce, most of the techies are hanging around with them and half-grooving along while working on set pieces. DYLAN ORLANDO sways with ASHER GARCIA in a bouncy waltz, the latter somewhat singing along.

DAVE WILLIAMS shows off his usual terrible dancing. Nigel sings directly to JADE BEAMON at one point, and she just about passes out. Yogi films the jam session with his A/V club camera to commemorate the end of the year.

Absolutely charmed.

**INT. AAA - HALLWAY - DAY**

While the acapella underscores, FARKLE MINKUS is making his way through the hallway after finishing up at his locker, headphones blocking out the rest of the world. He seems a little out of it, traversing the school with less of the impatient, high-maintenance energy than he was bursting with earlier in the year. Subtle, but definitely a shift.

DARBY WINTERS and SARAH CARLSON catch up to him, startling him into conversation. As he removes his headphones, he struggles to catch up to their fast-paced questioning.

> **Darby:**  … your audition number? We want to start taking bets on whether you’re going to be able to best Maya or not in this final epic diva showdown.
> 
> **Farkle:**  My audi – okay, slow down pixies, and start over. I can’t understand you at warp speed.

They eagerly ask him if he has decided what song he’s using for his audition. Suddenly feeling as though he’s forgotten something, he asks them what the hell they’re talking about.

> **Sarah:**  The Kossal auditions? They’re this weekend. Preliminaries are going to be all this week.  _[ Like he’s stupid. ]_  You know,  _the_  most coveted opportunity of the year?
> 
> **Farkle:**  Oh. Oh… yeah. Yeah, I guess I forgot.

Sarah raises her eyebrows, clearly shocked. Darby breezes right past it, telling him he should really start thinking about it, although he’s likely to do amazing regardless. As they flutter away, Farkle shakes off his daze.

He honestly can’t believe he forgot about the program he’s been waiting all year to audition for. But suppose when you actually get friends and stop being all-consumed by your one passion, that’ll do it to you.

* * *

**INT. AAA - ERIC’S OFFICE - DAY**

ERIC MATTHEWS is sitting down with RILEY MATTHEWS, obviously excited about whatever information he’s about to share with her. She still has her focus set on a different matter, though, and figures that’s what the meeting is going to be about.

> **Riley, hopefully:**  You’ve figured out who is running  _AAAC_?
> 
> **Eric:**  … still working on that. But making progress, undoubtedly.

Riley sighs, slouching back in her seat. Eric promises her that what he has to tell her is just as exciting, another great opportunity here at the end of term. He goes on to explain that at the conclusion to each school year, Michael Jacobs and the school board fund an art gala in which all the major art magnet schools from the area come together to celebrate their achievements of the past year and share in their love of the craft.

He slides a small invitation across the table for her to look at. On the front is a fancy-looking ballroom where the event is usually held, with details and logistics on the backside.

> **Eric:** Now, obviously Jack and I will be attending, as principal and MVP of Adams.
> 
> _[ Riley glances at him, giggling at his given title for himself. ]_
> 
> **Eric:**  But we’re allowed to bring one student as a representative for our school, and we were thinking you.
> 
> **Riley:**   _[ blinking, taking a moment to realize she heard him correctly ]_ Me – me? You want me?
> 
> **Eric:**  The nomination was unanimous.

Riley is evidently stunned by this. Eric goes on to explain all that she helped achieve at AAA that year, particularly how instrumental she was in bridging the divide and improving the overall quality of culture in the sophomore class. There is no one else they can think of more deserving of the opportunity. She should be proud of everything she’s accomplished this year.

The caveat, however, is that the gala conflicts with the district-wide audition evening for Kossal. So should she get chosen from the school-level auditions to progress onward, she would have to decide which one to attend. Riley claims she’s not planning on auditioning anyway.

> **Eric:**  What? Why on Earth not?
> 
> **Riley:** Are you – are you serious? You literally  _just_  said to me –
> 
> **Eric:** You know, you’re right. You’re right, shh. We’ll unpack that later.

Eric opts instead to highlight all the fun aspects to the gala that Riley should start gearing up for. She gets to dress up! There’s performances, and dancing, and great food! Oh, and she gets to bring a plus one, so she should start thinking about who she might like to bring along.

**INT. AAA - AUDITORIUM - DAY**

Class has assembled for the day, bustling into their seats and alive with restless end-of-term energy as Angela brings their attention to the front. She goes on to talk further about the Kossal program, how it is an intensive six-week summer camp in upstate New York where participants are deeply immersed in the art of performance. It is one of the most highly anticipated opportunities of the year for the sophomore class. The program boasts many notable alumni, and they’ve rarely had a student attend it from AAA who didn’t see success in their future.

As she describes it, it’s evident that MAYA HART and Farkle are both totally invested. ZAY BABINEAUX seems inspired too, but less openly determined than the other two divas. Everyone else is somewhere in between, indecisive about whether it’s worth it to try for it at all.

Angela continues on, explaining the catch – given it’s highly selective criteria, the audition process is staggered and competitive. It starts at the school level, where they will select  **three**  of their best students to move on to the district-wide auditions. From there,  **one**  lucky student from Adams will get to experience the program.

The techies are like… great. This week is going to be hell, isn’t it. ISADORA DE LA CRUZ exchanges a look with DYLAN ORLANDO and ASHER GARCIA, who look less than enthused. Angela dismisses them to work on their auditions or final projects, whichever they deem fit.

In the wings, Farkle pulls Maya aside. In an attempt to preserve their new and blossoming friendship, he proposes that they should help one another with their auditions. Essentially, be there to support one another rather than fall into their usual habits. Given the circumstances, it’s very unlikely that they both won’t progress to the next round, and he doesn’t want their naturally competitive instincts to come between them.

Maya is surprised and a bit hesitant towards this initiative, but she’s not going to be the one to cause trouble. Besides, as far as she can tell, Farkle does seem entirely genuine in his motivations. She agrees with a “hell yeah,” taking a pass on the drama if they can hack it.

They shake on it, agreeing they’ll be on each other’s teams.

**INT. AAA - CAFETERIA - DAY**

Zay is at his usual table, YINDRA AMINO and NIGEL CHEY occupying the other primary seats around him. They’re engaging in their typical comfortable conversation, Zay allowing them to take the brunt of it.

His focus shifts when CHARLIE GARDNER approaches with lunch in hand, coming to stand awkwardly by their table. He and Zay hold eye contact for a long moment, before Charlie asks if there’s room for him to join them. Although there’s clear tension, Yindra and Nigel don’t seem to pick up on it.

Zay claims there’s room, because he actually has to get going. He rises to leave without much more to say to Charlie. It’s clear this stings a bit, and Charlie watches him go before sliding into the seat he just vacated.

Yindra snaps him out of it when she asks whether or not he’s planning on auditioning for the Kossal program. Charlie says no, as he has a family obligation – there’s this big communal springfest dinner at his church that same night that is super important to his parents. His mother is part of the planning committee, and all that.

Nigel explains that he and Yindra were both considering it, but with only three spots and three known divas, it sort of seems like improbable odds. Charlie nods along, but he’s not really paying that much attention to their complaints. His gaze keeps lingering on the doors where Zay left.

**INT. LUCAS’S APARTMENT - DAY**

LUCAS FRIAR hastily makes his way from the hall to his bedroom towards the door, obviously on a mission. He has his phone pressed between his shoulder and his ear, slipping on his boots.

> **Lucas:**  I’ll be there in like five minutes, you can pick me up at the usual corner.  _[ a beat ]_ No, tell Dylan he’s not coming over.  _[ beat ]_  Yes, I have the fireworks, now could you –

From the kitchen, his mother calls out for him. This is pretty unusual, so Lucas tells Asher he’ll be there in a minute before hanging up and sauntering back towards the kitchen.

**INT. LUCAS’S APARTMENT - KITCHEN - DAY**

Lucas pokes his head in, finding GRACE FRIAR seated at their small dining table. She’s petite, disarmingly beautiful, and looks deceptively too young to have a teenage son. She asks if he has a minute to chat about something. He starts to state that he has plans, but rather than explaining to his mother that he’s off to go set off illegal fireworks with his dumbass friends, he figures he can spare the few seconds to talk.

Lucas settles into the chair across from her, and the closer we are to her the more the cracks in her dainty exterior seem to show. There are healing bruises on her face from the events of 1.09, and once you notice them underneath the makeup, it’s hard to unsee.

She goes on to explain that through one of her friends at work, she was able to get in touch with the dean of admissions at McCullough, a private all-boys boarding school in upstate New York. Given Lucas’s excellent academic record at AAA – behavioral record aside – Grace believes that if he applied, he could totally get a spot in their elite student body for the last two years of high school. She wants to put his application in for the fall, if that’s something he might want.

> **Lucas, stunned:** You mean… you mean like  _leave_  triple A?

Grace hurriedly explains that she knows AAA was never Lucas’s top choice as far as schooling. He never had any artistic interests, there were just no… better alternatives. But this school has excellent reviews, top rated academics. It’s in the countryside rather than the city, so maybe the fresh air could do him good. A little space. And all of its alumni go on to have successful careers as doctors, lawyers, entrepreneurs – whatever Lucas decides he wants to do.

Lucas doesn’t know what to think. Never before has there  _been_  another option besides AAA, and the mere prospect of it seems impossible to fathom. Not to mention, so much has changed in the past year at the school he always claimed he hated. He doesn’t know how to answer.

Grace claims that he should take the next couple of weeks to consider it, as the application isn’t due until then anyway. It just might be a viable different route, an… escape from everything going on here. A loaded conversation to drop so suddenly…

> **Angela, pre-lap:**  How is anybody supposed to make a decision like this?

**INT. AAA - ERIC’S OFFICE - DAY**

Angela is hanging out with Eric in his office, both of them relaxing after the students have cleared out for the day. They’re sharing sodas in fancy glasses (i.e., what they’re allowed to consume on school property), and Eric is leaning back with his feet up on his desk as they muse.

Angela laments her current situation, definitely feeling torn between two worlds.

> **Angela:** It’s like, all my life, I had one dream. This gig, this draining, paradoxical, invigorating art of performing, that was it for me. All of this from acing an audition to getting a spot on a tour or production, I mean, that was the whole plan, you know? That would fall into place, and the universe would do the rest.
> 
> **Eric:**  I hear you, sister. Amen.
> 
> **Angela:**  But here I am, finally steps away from the dream. It’s right in front of me. I can taste it. And… I’m holding back. I’m hesitating. How can I be hesitating now?

As Eric points out, there’s a chance her dreams have changed. She certainly has, as has he, and everyone else they know. Hell, look at how much they’ve all grown in just this school year alone.

> **Eric:**  Beginning of this year, Jack and I fought about everything.
> 
> **Angela:**  Believe me, I remember.
> 
> **Eric:** You and Shawn couldn’t even look at each other, and the school was at war. Quite literally, given everything that conspired after.

Now, all things considered, they’ve found harmony. They’ve found peace, and they’re on their way to almost quelling the last remaining symbol of bad blood. They opened themselves to change, and it turned out to be exactly what they needed.

> **Eric:**  Change happens, and it’s scary. But it can be good. You shouldn’t run from it. In fact, it may behoove you to listen to what it’s trying to tell you.

Angela ruminates on this, taking a long sip of her cola. Much to think about.

**INT. BABINEAUX HOME - NIGHT**

Zay is eating dinner with OMAR BABINEAUX and DONNA BABINEAUX, attempting to find the right time to tell them about the summer program. As Omar wraps up discussing a new development at work, Zay takes a deep breath and gears up to speak. Donna beats him to it, however, suddenly remembering an important news bulletin they meant to share with him.

His older sister Jada was selected for an exclusive study abroad program this summer. She’ll be studying fashion in Milan and Paris, so they’re planning a family vacation there as well to take advantage of the opportunity. It’s an exciting update, but definitely throws a potential wrench into Zay’s quest for Kossal.

> **Donna:** Isn’t that exciting?
> 
> **Zay:** Oh, yeah. Yeah, that’s… I mean, dope.
> 
> **Omar:** What were you going to say, Zay? Looked like you had something on your mind.
> 
> **Zay:**  Just that, uh… my grades have really turned around since fall semester. So the tutoring did actually help. That’s all.

He doesn’t push the issue further, allowing his parents to congratulate him and take back control of the conversation. Might as well be a sign… right?

**INT. JACK’S APARTMENT - NIGHT**

Jack and Shawn are having their traditional dinner. Shawn raises his glass in a toast, cheering on Jack for catching the dumbass who was running the  _AAAC_. Jack takes the praise, but hesitantly. After they both drink, Jack expresses his qualms about how to progress with punishment towards Wyatt.

Shawn shares no such reluctance to be brutal.

> **Shawn:**  What do you do when you catch a cold, Jackie?
> 
> **Jack:**  Down a pint of Gatorade and hope for the best.
> 
> **Shawn:**   _[ with an eye roll ]_ Okay, how about a malignant mole? A tumor? Any sort of cancerous presence?
> 
> **Jack:** Well I’ve been lucky enough not to –
> 
> **Shawn:** You remove it. You cut the thing out so it’s disease can’t spread. It’s that simple.

Jack points out that some might say similar rhetoric about, say… Lucas, to which Shawn scoffs. He claims that they’re completely different situations.

> **Shawn:**  Listen, Friar is a mess all his own. I would know. But he isn’t going around using slurs towards other students, or posting increasingly vitriolic hate just to rile people up. There’s a difference.
> 
> Jack references the fact that Wyatt claims he’s not the moderator, that there’s another student running it. Shawn blows this off, stating that has to be a lie.
> 
> **Shawn:** _[ with his mouth full ]_ I would know. I used to lie to get out of trouble all the time.
> 
> **Jack:** Once again, you continue to reassure me of your right state of mind to be teaching the youth of tomorrow…

Shawn states that Jack knows what the right decision is, he’s just wallowing in it. And if he won’t do the right thing, then he’ll just take matters into his own hands. Jack knows he’s just shooting the breeze, but he is also like don’t do anything stupid please, I have enough to deal with.

**INT. MATTHEWS APARTMENT - NIGHT**

That night, it’s just CORY MATTHEWS and Riley there for dinner at the apartment. In the midst of the meal, Cory congratulates her on being selected as representative, and there’s a soft moment between them reflecting on just how far she’s come in a year. He’s so, so proud of her.

She agrees that there is a lot to think about, like what she’s going to wear and who she should bring along. Cory additionally mentions the decision over which song to perform for her audition for the summer program, until Riley expresses that she isn’t planning on auditioning.

Much like Eric, Cory is totally opposed to this notion. He states that she should at least throw her hat in the ring, and it’s even more low stakes for her considering if she doesn’t make it to the district level, she has another plan already in place.

> **Cory:** Other potential conflicts aside, you shouldn’t keep yourself from getting the chance to run the bases by never letting yourself take one swing at bat.

**INT. RILEY’S BEDROOM - NIGHT**

This sentiment is still lingering with Riley as she gets ready for bed. She hesitates, glancing up at her moodboard to search for inspiration.

It’s drastically different than when it was first made, more intricate and decorated than ever. Lots of little details have been added, including photos of her classmates, playbills from  _Les Mis_ , and lots of other little mementos throughout the school year.

She zeroes in on one item in particular – a scrap of notebook paper. It’s the note she and Lucas were passing back in forth in 1.10, during Maya and Farkle’s rendition of “Bop to the Top.” While the majority of it is just a back and forth about how Lucas doesn’t know what the movie is and he thinks Maya and Farkle aren’t that good, the most important statement is the last.

As Riley is defending their performing abilities, he’s followed up with a very bold counterargument:  _“You’re better.”_

It’s evident that is the reason the conversation is hanging up at all. She hangs on this, lightly smiling… wheels are beginning to turn in her head again…

**INT. AAA - AUDITORIUM - DAY**

Charlie shows up to the auditorium early, finding Zay on the stage exactly as he hoped he would. He’s running through what would have been his audition routine, the vaguely familiar orchestral arrangement from  _A Chorus Line_  playing on his iPhone speaker. Charlie hangs back and watches for a moment, in awe of Zay’s obvious skill as always.

> **Charlie:**  Looks pretty good.

Zay is surprised by his presence, both because he didn’t realize he was there and because he’s suddenly deeming him worth talking to again. He rushes to turn off his speaker, taking a second to catch his breath. Then he forfeits the stage, saying that he’ll get out of his way if he needs to use it. Charlie rushes to stop him, asking if he’ll give him just half a second to talk.

Zay looks wary, but he doesn’t leave. He crosses his arms, waiting for Charlie to say his piece.

> **Charlie:**  I’m sorry I’ve been acting so distant. Ghosting you, and stuff. I don’t have an excuse. I’ve just been… it’s been weird.
> 
> **Zay:**  Bit of an understatement.
> 
> **Charlie:**  I haven’t exactly felt like myself much, lately. _[ a beat, then he laughs ]_  Honestly, it’s more like I don’t even know what “myself” actually is. Kind of wondering if maybe I ever did.
> 
> _[ It’s really hard not to empathize with him. Zay is clearly softening. ]_
> 
> **Charlie:**  Anyway, it’s not a good reason to treat you the way I did. I can’t explain why I did what I did, but I’m genuinely sorry. I never meant to hurt your feelings. And regardless of what’s going on with me, I don’t want to lose you. I mean, someone has to be able to keep up with me around here.

Zay can’t help but chuckle, earning a hopeful smile from Charlie. But the deal isn’t closed yet.

> **Charlie, sincerely:**  I understand if you can’t forgive me. I just wanted you to know.

There’s a moment of silence. Charlie may as well be holding his breath. Then, Zay sighs.

> **Zay:**  I don’t know what your so-called God has you used to, but I wouldn’t call what you did unforgivable. Or maybe I’m just a gracious deity.

Jokes aside, he’s accepting the apology. Charlie is clearly relieved, laughing in spite of himself and nodding. Zay mirrors his smile, before prodding further on what he mentioned earlier.

> **Zay:**  What did you mean by that? Not feeling like yourself?
> 
> **Charlie:**  I don’t know. It’s like… do you remember during acoustic week, we talked about your lack of friends?
> 
> **Zay:**  Well, I wouldn’t phrase it like  _that_ , but yes.
> 
> **Charlie:**  It’s… I guess it’s kind of like that. What I talked about, that feeling where you feel like you’re outside yourself. Only… way worse. Like now I’m out there, and I don’t even recognize the person I’m looking at. It doesn’t feel like me anymore. Or maybe it never really was.

Zay can tell that Charlie is seriously struggling with this. Charlie goes on to explain that he was scared that things were changing, but now he doesn’t even know if that’s the case anymore. He isn’t sure if things are changing, or if he’s just becoming aware of how things already are. He can’t figure out which is worse.

Vague cryptic statements aside, Zay states that he’s there to help if he thinks he needs it. Charlie thinks on it, before agreeing that just doing something fun to get his mind off everything might be exactly what he needs.

> **Charlie:**  And, well, you’ve always been the expert on that front.
> 
> **Zay:**  This we know. I’ll see what I can do.

**INT. AAA - HALLWAY - DAY**

Riley catches Isadora in the hall, asking if she’s seen Lucas. After she suggests checking the usual places, Riley follows up by asking whether or not Isadora is planning on auditioning for the summer program. Her derisive laugh is enough of a response.

> **Isadora:**  Are you kidding me? I’m not trying to insert myself into that bloodbath. Farkle, Maya, and Zay can take it, I’m not aiming to scrap in the last two weeks of school.

A valid analysis of the situation. Even still, Riley makes her focus on her as she states that she truly believes Isadora is good enough to earn herself a spot on her own merit. Then she flutters off, Isadora unable to hold back the ghost of a smile at the touching sentiment.

**INT. AAA - PRACTICE ROOM - DAY**

Maya and Farkle are in the same practice room where they met for tutoring in 1.03, running through some scales together with the latter on piano. They’re interrupted when KATY HART shows up, nervously poking her head in and clearly not sure if she’s in the right place. Maya eagerly leaps forward to greet her, hugging her and guiding her into the space.

Farkle is surprised, Maya quickly catching them both up to speed. She explains that her mother had never seen the inside of the school before, so she was able to work something out with Jack so that she could come by for lunch and stick around to see her audition. Katy expresses awe over how state-of-the-art the facilities are, Maya walking her through everything in their current room. Farkle watches them, obviously touched by their tight-knit relationship.

As Maya goes into further detail about what their practicing for and the summer program, Katy grows anxious again. She’s uncertain about the financial aspect of it. Farkle jumps in, helpfully stating that the summer program is all-expenses paid. That’s partially why their audition process is so thorough – they want to make sure only the most deserving and talented students are mixing and mingling at this shindig.

Good news, for the Harts at least. Katy brightens again, eagerly requesting to hear a little bit of what they’ve been working on. Maya claims that she’ll get to see the full audition in just a bit, but she pleads for a sneak preview. Farkle raises his eyebrows, wiggling his fingers over the keys to show he’s ready.

Maya relents, gesturing her mother towards the chairs to settle in and listen. Then she exchanges a look with Farkle, nodding to count each other in. She closes her eyes, taking a deep breath. Then, as Farkle hits the first chord…

* * *

**Song Cue ♫ ♪ “Listen” as performed by Glee Cast  || Performed by Maya Hart**

Maya kicks off this brassy display of her vocal talent, true evidence to how hard she’s worked all year. “The Wizard and I” was impressive, but this is a whole new level of ambition. It’s raw with emotion, even more so given the fact that her mother is there to witness. She smiles at her as she sings, obviously one of her greatest sources of inspiration.

**INT. AAA - AUDITORIUM - DAY**

As the performance continues, it shifts to Maya center stage performing for Angela, Shawn, Jack, and Eric. A large crop of her classmates are there to cheer her on as well – Farkle, Zay, Charlie, Riley, Isadora, Darby, Sarah, etc. How nice it is, seeing the divas show up to support one another rather than tear each other down…

As she finishes, her classmates burst into resounding applause. Angela, grinning, thanks her. Katy wipes a couple of tears. Maya can’t stop smiling, nodding gratefully with the spotlight shining all around her.

* * *

**EXT. AAA - LUNCH COURTYARD - DAY**

Lucas and Isadora are at lunch, the latter rattling off what she thinks her summer plans are going to be with this short film idea that came to her during first period. She’s already got storyboards going in a notebook.

Lucas isn’t listening. He’s distracted, watching the other goobs in his techie crew throw food at each other and crack up and live their generally silly existences. Isadora realizes he’s a million miles away and snaps him out of it, asking him if he heard a word she said.

> **Lucas:**  Please. Of course I did.
> 
> **Isadora:** Right. So what was I thinking was going to be the climactic plot twist that makes the entire short and dare I say rivals Alfred Hitchcock?
> 
> **Lucas:**  You know I don’t understand that reference.
> 
> **Isadora, bluntly:**  You really should. Well?
> 
> **Lucas:**  … okay. Okay! I wasn’t listening. You caught me, congratulations. You’re Sherlock of the month.

Isadora makes an offhand comment about how she doesn’t see why she bothers to open her mouth, but Lucas is already zoning out again. It’s clear that the decision of McCullough is all he can think about, so he ventures the topic – albeit vaguely – with his most trusted source.

> **Lucas:** Can I ask you a question?
> 
> **Isadora:**  Was that not just a question?
> 
> **Lucas, deadpan:**  You’re fucking hilarious, seriously.
> 
> **Isadora:** _[ with a smirk ]_  I know. Anyway, go on.

Lucas finds a way of twisting the decision to leave into a thinly veiled alternative scenario, almost like… a scientific hypothetical. Something she would inherently understand.

> **Isadora:**  You realize that most often supposed “hypotheticals” are in fact very real situations that one is simply  _posing_  as a hypothetical –

He waves her off, going with the ruse anyway. He lays it all down before asking for her advice as to how she would proceed to make the most effective choice. She plainly states that she would make a list of pros and cons to each outcome. From there, it’s far simpler to deduce the best method moving forward.

Lucas absorbs this, nodding along and thanking her. Then she continues on with her film sketch, but he’s already checked out again. Already mentally crafting his list…

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Sarah and Darby are in the dressing room with Chai, hanging out before class resumes. As Darby touches up her makeup, the three of them discuss whether or not they’re auditioning. Sarah complains it’s not really worth trying either way, and Chai concurs. But she blithely states she wasn’t planning on auditioning anyway. In fact, she won’t be returning next year, either.

> **Darby:** _[ whipping around and smearing mascara on her cheek ]_  Oh my God,  _WHY_?
> 
> **Chai:**  Relax, Darbs. It’s not goodbye forever. I was able to work out a study abroad sort of situation with Principal Hunter given that I’ll be spending the year in  _London_.
> 
> **Sarah:** London? Where the hell did that come from?
> 
> **Chai:**  Well, papa’s still attempting to win over me and mom after getting caught with his pants down with the secretary in our parlor –
> 
> **Darby, sadly:**  It’s always the parlor… I’m so glad we don’t have one.
> 
> **Chai:**  So he’s paying for me to spend the year across the pond. And it’s like what, am I gonna say no? I can hate his guts and spend his money, thank you very much. I’ll be studying the dramatic arts in the birthplace of Shakespeare, Andrew Lloyd Webber, wandering the West End…

Certainly a not-too-shabby alternative to AAA for a year, that’s for sure. Their conversation is interrupted as Riley enters to drop her things, Darby cheerfully posing the same question to her. Despite her former hesitation, Riley admits that she’s been considering it more and more. Sarah scoffs, asking her if she thinks she stands a chance against the divas. Riley shrugs and states that even if she doesn’t, that’s not a good enough reason to sit it out entirely.  

Chai applauds her confidence, but manages to underhandedly point out that it will give her yet another opportunity to publicly fumble like she did all the time at the start of the year. Sarah laughs along and Darby can’t help but giggle, although her expression is more apologetic.

Riley takes the hit, wishing all of them well with their own endeavors and keeping her chin up before heading out to the auditorium. Chai watches her go, but the expression on her face isn’t resentment. In some ways, it seems closer to envy.

> **Darby:**  Hm. Maybe I’ll audition, too.
> 
> **Sarah:** Yeah, uh-huh. I’ll believe it when I see it.

**INT. AAA - TEACHER’S LOUNGE - DAY**

Jack manages to catch Angela in the teacher’s lounge, brewing a thermos of coffee before she’s due back in the auditorium. He requests a moment to chat with her if she can spare it, which she happily does. The two of them settle in at a round table.

Jack poses the Wyatt problem, giving as much context as possible before asking Angela what she would do in his shoes. He notes the perspective he’s already gotten from Shawn. Angela grants that she isn’t surprised at all that he had that response, but is reluctant to provide her own.

> **Angela:**  I don’t know if you want to ask me. I can hardly make my own choices.
> 
> **Jack:** I just want to know your thoughts. Honestly.

Angela hesitates. She explains that she knows what Wyatt did was irrevocably wrong, from the despicable words to Isadora all the way through to the involvement with the confessions page and his targeted derision towards Lucas. It’s bullying in all its varied forms, and it shouldn’t be tolerated. Even still… she expresses hesitation at ousting him so harshly and hastily.

When Jack prods further, Angela points out that Wyatt is still one of her students. He’s making dozens of poor choices, she can concede that, and he deserves to be punished. But she’s also seen him in his brighter moments, instances of participation and camaraderie and learning. That exists in him just as much as the nastiness. As Jack has said himself, it’s never simply black and white, especially with adolescents who have so much growing to do.

For Angela, it just seems a little cruel to kick him out with so little time left in the school year. But she’s a softie, she claims, so what does she know? Maybe that’s not the best advice. Especially if he intends to leave an impression to deter others from exhibiting the same behavior. Jack thanks her regardless, insisting that her feedback was helpful.

> **Jack, softly:**  If you do decide to leave us this year as well, you will be sorely missed. I can promise you that.

Ouchie. Angela nods, suddenly a little more somber than before as Jack leaves her to it.

**EXT. NEW YORK STREETS - DAY**

Charlie is out with Zay, the two of them walking side by side as they make their way through the streets while keeping up a conversation. Zay refuses to tell him where they’re headed. Charlie is nervous, but also clearly excited. Invigorated with that infectious energy he gets from being around Zay Babineaux.

Zay declares they’ve made it, turning the corner. Curious, Charlie jogs to keep up.

**EXT. NEW YORK STREETS - DANCE LOT - DAY**

Zay has dragged them to a back alley park, the empty lot transforming into a break dance spot in the after school hours. A group of a couple dozen or so students is assembled, both older and younger than them. It’s sort of an impromptu crew, coming here after school to jam and challenge each other and just groove together. Most of them are also quite similar to Zay in displaying confidence in their unique sense of style – and come off pretty distinctly queer.

Charlie is  _more_  than intimated. He states he can’t do this before whipping around and trying to leave, but Zay grabs his shoulders and pulls him back. He braces him, going on to explain that as long as they’ve been friends – hell, even just classmates – Charlie has always seemed most centered when he’s dancing. These people, they’re the exact same, in fact they’re the experts at using it for self-expression. Zay is positive Charlie has never experienced dancing with freedom quite like this.

There’s a moment where it seems like maybe he’s being convinced… but no. He’s still scared. He tries to run again but is thwarted when one of the older, more respected members of the crew greets Zay and calls them over. Nowhere to hide, Charlie sheepishly follows Zay as he bounces over to greet his acquaintance.

Zay eagerly introduces Charlie, nudging him into standing straighter and not shying away from the moment. The assembled dancers sort of swarm and welcome him warmly, asking him what kind of dancing he’s into and if he thinks he can keep up. After a little bit of banter, let the dancing jam session begin!

* * *

**Song Cue ♫ ♪ “Step Up” as performed by Samantha Jade  || Instrumental**

Yes, it’s the title track from  _Step Up_. Yes, this entire sequence sort of feels like it’s ripped straight out of a  _Step Up_  movie. But that’s all part of the fun, and watching the teenagers all groove together and encourage each other is engaging to watch. The dancing is fresh, enthusiastic, clearly important to every single one of the kids assembled there.

Charlie is no exception. It takes a little while him to loosen up, the other dancers showing him new moves or helping him get comfortable. But true to Zay’s word, once he relaxes it’s like he transforms – he’s a completely different person. In his element, grounded, alive.

When the bridge hits ( _“And when the symphony plays, I feel my feet / Lifting from underneath”_ ), focus zeroes in on just Zay and Charlie. In an instant they’re pulled together, and suddenly they’re dancing more with one another than we’ve seen thus far. Sure, they’ve done duets before, but never have they experimented with a dance that really  _includes_  the other.

But it’s good.  _Really_  good. And it seems pretty natural for the both of them to work out. As the bridge descends back into the chorus, they blend back with the rest of the crew and end out the jam session. Afterwards, the crew applauds, pulling Charlie into the group and giving him pats on the back. A new source of family, maybe…

* * *

His smile is impressively bright. Zay mirrors it. It’s impossible not to.

**INT. AAA - SHAWN’S APARTMENT - NIGHT**

Angela and Shawn are at his apartment, having just finished up watching a movie. Well, sort of watching a movie, sort of on the road to Netflix and chilling.

After breaking a kiss, Angela tentatively broaches the topic of what will happen for the two of them if she decides to go on tour. Shawn bristles a bit, claiming that she’s decided then. She disputes this, stating that she’s far from having decided anything in an attempt to keep the situation from imploding. But Shawn has already pulled away, getting to his feet and busying himself by turning off the TV and hitting the lights.

> **Angela:**  Shawn, would you listen to me? I haven’t made a choice. I’m just… I’m trying to figure out my plan.
> 
> **Shawn:**  You can’t make plans until  _after_  you’ve made the decision!  _[ off her expression ]_ You’re avoiding it because you don’t want to choose. You want there to be an easy out, but there’s not. You have to decide.

After a little more back and forth, Shawn points out that this is starting to feel eerily like the conversations they had right before the last time things ended badly between them. Angela frowns, stating that it’s different this time. They’re different.

But Shawn has already been emotionally spooked. He asks if he can be alone for a bit, retreating to the bedroom and leaving her alone to stew in it. Angela groans, flopping back on the couch and covering her face.

Weird, how not making a decision can almost make things worse…

**INT. CHUBBIE’S DINER - NIGHT**

Charlie and Zay are getting a late dinner at Chubbie’s, a credit in part to Charlie’s growth considering plenty of people can see them there who know them. But they’re friends, after all, so what does he have to hide? Just dancing pals.

He thanks Zay for taking him to the lot, stating that while he’s not entirely upright again, he does feel better. Zay is happy to have helped. When the two of them reach for the plate of fries at the same time, there’s a moment where their hands brush together and that tension returns between them again. Zay glances at Charlie, who is staring at their hands.

Then, Charlie proceeds for the fry as normal. Not commenting on the moment, but not immediately shying away from it either.

As he pops the fry into his mouth, he asks Zay what his plan for the summer program is. The number he was working on in the auditorium seemed pretty legit. Zay shrugs it off, claiming he’s not doing the audition. Charlie nearly chokes on his fries.

> **Zay:** Jesus, man.  _[ sliding his water across the table in case he needs it ]_  If you survived the scary dancing pit, don’t let a stray potato take you out.
> 
> **Charlie:**  What do you mean you’re not auditioning?
> 
> **Zay:** It’s no biggie. My family has this whole summer plan already, and I don’t want to mess with it. Not to mention the Farkle and Maya of it all, who knows what they might do if someone presents even a shred of competition –
> 
> **Charlie, incredulously:**  I can’t believe I’m hearing this right now. You need to audition. This is a once in a lifetime opportunity, and you’re too good to pass it up.
> 
> **Zay:**  Um, could say the same to you.
> 
> **Charlie:**  Yeah, thanks, but I’ve got enough going on internally without adding a stressful audition into the mix. Think you can admit to that.
> 
> **Zay:** Yes, you certainly are a bit of a basketcase at the moment…

Case in point, Zay needs to do this. Charlie won’t hear anything else, and he’s sure his family will understand. He at least needs to try. Zay contemplates this – the notion of actually giving it a shot as well as Charlie getting fired up on his behalf – before eating another fry.

**INT. AAA - BOYS DRESSING ROOM - DAY**

Farkle is gearing up for his audition, doing vocal warm-ups and mouth stretches in the mirror. Yogi and Dave are also present, shooting the breeze and poking fun at Farkle’s pre-show rituals. Dave shares that he heard Riley might be auditioning too, which freaks out Farkle. He wasn’t expecting more than the three of them to audition, and suddenly the calm of this whole situation feels precarious.

Maya pokes her head in, checking for Farkle and telling him they’re ready. Yogi and Dave tell him to break a leg, but he ignores them as he marches out of the dressing room.

**INT. AAA - AUDITORIUM - DAY**

Farkle and Maya make their way into the wings, the spotlight gleaming on stage and waiting for him. He stands apprehensively in the shadow of the curtains, suddenly prickling with stage fright he’s never really experienced before.

Maya gives him a bracing pat on the shoulder, pulling him out of his own head. She jostles him a bit, giving him a smirk and assuring him that he’s got this.

Wow, how nice it is to have friends instead of adversaries. Farkle nods, exhaling through his lips and regaining his performance mojo.

* * *

**Song Cue ♫ ♪ “Not the Boy Next Door” as performed by Glee Cast  || Performed by Farkle Minkus**

The instrumental precedes him, setting us up for a jaunty, energetic solo as Farkle marches his way onto the stage. It’s an enthusiastic and skillful performance, delivering all of the star power and talent that he’s been serving since “Man About Town” but leaner, looser, more an expression of heart rather than a strangled declaration of perfectionism.

More than anything, it’s clear he’s having  _fun_ , which can’t be said for every performance he’s given over the course of the year. He totally loses himself in the number, spurred on by the encouraging cheers from his classmates who came out to see him – notably Maya and Riley, amongst scattered other performers.

He’s out of breath when he belts out the final note, but boy, did he make an impression. Angela thanks him proudly, the rest of the judges smiling as well.

* * *

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Lucas is alone in the booth, in his usual chair. He’s got his pros and cons list in a small notebook, tapping his pen against it as he contemplates it. Presently, there’s a couple more cons than pros.

He raises his gaze to look at the booth around him. Much like the moment that gripped Angela in the black box, Lucas becomes acutely aware of the fact that he may never be back in this space after the school year is done. It’s oddly surreal. His pen starts tapping faster out of instinct.

He’s broken out of his fugue when Riley pops in, knocking lightly before stepping inside.

> **Riley:**  I hope I’m not intruding.
> 
> **Lucas:**  No, uh, no. It’s fine. You’re fine. What’s up?

Riley can tell he’s not quite himself, but she chooses to brush past it for now. She’s a bit nervous herself, given what she’s there to talk to him about. After a bit of beating around the bush – a pointed eyebrow raises from Lucas to make it evident he  _knows_  she’s beating around the bush – Riley works up the courage to ask him to be her date to the Jacobs gala.

Before he can respond, she launches into a frantic ramble explaining exactly what it is and what he’d be expected to do. Lucas does his best to absorb her words at warp speed, obviously stunned she considered to ask him at all.

> **Riley:**   _[ following her breathless explanation ]_  Essentially, it’s just a fanciful folly for the arts, but apparently I’m good enough to represent. And I’m supposed to bring a plus one, and I’ve been giving it a lot of thought, and I just keep… I figured it might be nice to have a technician there as well. I couldn’t think of another person better suited for the job.
> 
> **Lucas:**  … wow.

Lucas, still slow from the shock, admits that he’s flattered. And he concurs that her reasoning makes sense, bringing a technician along and all that. Riley nods along, chewing her lip and twisting her fingers together.

> **Lucas:** But uh… no.
> 
> **Riley:**  No.  _[ blinking ]_  No?

Ouch. Lucas presses his lips together, managing a shake of his head. Suddenly, the booth feels a million times more claustrophobic. As Riley tries to digest this turn of events, Lucas scrambles to provide an explanation of his own.

> **Lucas:** Again, I really appreciate you considering me. But it seems like a pretty important thing for the school, or whatever, and a whole glamorous to-do. I just think that there’s a lot riding on you, here, and you should present yourself accordingly. Pick someone more… fitting to the role.
> 
> **Riley:**   _[ timidly ]_ What if I think you fit the role?

Well, hard to argue with that. Yet somehow, Lucas finds a way, still declining the invitation although with less certainty the second time around.

Riley is stung, stumbling out a few assurances of “cool” and “sure.” Lucas is apologetic, seemingly genuinely so, but at present Riley just needs to escape. She makes an excuse and darts out of there, Lucas watching her go. There’s a moment where it looks like he might go after her, but it passes without action.

Instead, Lucas sighs and pulls his notebook back onto his lap. He stares at his lists, grabbing his pen and adding  _Riley_  to the bottom of it. It’s in the middle of the page, not clear at all which column she falls under.

**INT. BABINEAUX HOME - NIGHT**

As Donna prepares for dinner and Omar chats with her from the table with his work, Zay barrels into the room and declares that he has something to tell them. He doesn’t give them the chance to react as he claims he wants to audition for the Kossal summer program, rattling off what it is and why he wants to do it. He states that he wants to go on the summer trip and this may not even work out, but the chance feels too important to ignore and really important to him.

When he finishes, he’s out of breath. He stares at his parents, wide-eyed, waiting for their reaction. Unsurprisingly they are more than supportive, telling him to go for it and show everyone at that school why he is the best they’ve got. The rest, they’ll figure out later. Zay exhales in relief and hugs his mom, earning a laugh from her.

**INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT**

Zay retreats to his bedroom, obviously in far better spirits than earlier in the week. He crafts a message to Charlie, before deciding that’s not enough. He pulls up his contact, dialing his number instead.

**INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT**

Charlie sees Zay light up his phone, grabbing it and escaping out to his balcony. He answers on the fourth ring, not keeping him hanging.

Zay tells him what his parents said, and that he’s going to audition. Charlie congratulates him, claiming that he knew it would all work out.

> **Zay:**  How is it when I always think I’ve got the one-up on you, you repay the favor before I even realize it?
> 
> **Charlie, charmed:** Well, I have to be the expert at something in this relationship.

Zay hangs on his acknowledgement of their friendship as a “relationship,” before pushing past it. He repeats the sentiment that his parents said about proving that he is the best AAA has, and Charlie seconds it without hesitation.

* * *

**Song Cue ♫ ♪ “The Music and the Mirror” as performed by A Chorus Line Original Cast || Performed by Zay Babineaux**

**INT. AAA - AUDITORIUM - DAY**

Starting from the opening piano tinkles, focus is solely with Zay on the stage. As much an honorary diva as he is, he’s more so a team player than anything else, so this ownership of center stage feels long overdue.

And boy, is it worth the wait. Zay absolutely destroys the classic triple-threat number, singing the hell out of it and then proceeding to dance the hell out of it. It’s four minutes dedicated to giving the star our undisputed attention, and it feels more earned than words can describe.

As the dance unfolds in the second half, focus cuts to some of the friends who have come to see him audition. Nearly the entire class is there considering how popular he is, all in awe of his dancing ability as they should be. Charlie looks prouder than ever. Riley is basically jumping out of her seat from excitement. That’s her first friend!

The judges are deeply impressed, and seemingly grateful at their current three auditionees there’s not actually a decision to make. Farkle seems less relieved, starting to get a little bit antsy as they applaud Zay and he gives a confident bow.

* * *

**INT. LAW OFFICE - DAY**

Riley visits her mother at work, distinctly out of place in the high intensity and strait-laced setting of the law office with her thrift store tee and flare jeans and propensity for knocking things over. It’s a relief when TOPANGA LAWRENCE emerges from her office and happily gestures her in, freeing her from the scrutinizing gaze of her colleagues at the front.

**INT. TOPANGA’S OFFICE - DAY**

Topanga and Riley catch up as they settle in, Riley primly sitting in the large leather chair opposite her mother’s desk. When prompted on how school is going, Riley offhandedly explains all of the stuff going on at school with things winding down to summer. When Topanga gets wind of the summer program, she comments what a wonderful opportunity that sounds like and questions whether Riley is going to audition.

Riley admits that she was thinking about it, but has sort of decided she’s not going to. Topanga totally turns the usual argument on its head, wondering why Riley would ever hesitate when she’s so gifted but more so curious as to why she’d neglect such a great opportunity when they’re certainly forking over a chunk of change for her to attend the school in the first place. A fair point, but not the most empathetic approach.

It’s encouragement in its most aggravating form. Rather than motivating Riley it almost completely turns her off to the whole thing. Although she states she’ll continue to consider it, her expression makes that statement difficult to buy. Tough day for Miss Matthews…

**INT. AAA - AUDITORIUM - DAY**

Class is assembled before first bell, discussing all the auditionees so far and how nothing has been much of a surprise. Wyatt is cleverly keeping his mouth shut giving he’s on probation, but somehow his classmates manage to pull some commentary out of him.

When he says something harsh towards Zay’s performance Charlie starts to refute but Lucas beats him to it, firing back with a dig at Wyatt that makes most of the assorted group chuckle but also wince. Pissed at being ridiculed by him once again, Wyatt serves up a harsh reality check of his own.

> **Wyatt:**  At least we know if there was a competition for which one of them to get rid of, there’d be a unanimous decision across the board.

The message is clear enough. Isadora jumps in and tells Wyatt to fuck off, but Lucas is less reactive. In fact, he’s totally blithe when he says something offhand in response, alluding to the fact that Wyatt might very well get his wish.

He gets up, retreating to the booth and leaving an uncomfortable and uncertain quiet in his place. The situation feels serious, but none of them have any clue why…

**INT. AAA - BLACK BOX THEATER - DAY**

Angela is still grappling with her own indecision, alone in her classroom. Only this time, Shawn isn’t there with coffee and a warm gesture to rescue her.

She checks her phone, revealing a couple of messages sent to him that have gone unanswered. Frustrated, running out of time, and as uncertain as ever, Angela shuts off her phone and jumps to her feet. Unable to sit still any longer.

* * *

**Song Cue ♫ ♪ “Should I Stay Or Should I Go?” as performed by Jools Holland & Kylie Minogue || Performed by Angela Moore**

Launching into this anthem for indecision, Angela dances around her classroom as she lets out her aggravation. It’s refreshing to get another track with our favorite performance coach showing off why she’s been offered a touring position in the first place. The vocals are top notch, but the emotion behind them is what really sells the rendition.

As she continues to sing, she makes her way out into the halls…

**INT. AAA - AUDITORIUM - DAY**

In the following montage, Angela’s singing underscores both she and Lucas going through their day as they continue to balance their decisions. Whereas Angela is more about chewing up the scenery and expressing reluctance to leave, Lucas is observing the things about the school he enjoys (his fellow technicians, the booth, the occasional moments where the performers are entertaining) along with all the things he hates (the drama, the stupidity, the incessant singing). With every beat, he makes a little note in his list when no one is paying attention.

* * *

Angela finishes off the montage at center stage, dipping her head back and absorbing the spotlight. Exasperated, but evidently no more at home than when she’s performing. It does truly feel like an impossible decision.

Then, she closes up for the night, clicking off all the lights and shrouding the place in darkness.

**EXT. OUTDOOR HIDEOUT - DAY**

The montage concludes for Lucas somewhere just out of the city, more wilderness than we’ve seen yet. He’s seated on the hood of Dylan’s jeep which is parked in the clearing just beyond the trees, sort of a natural hideaway that the three of frequent somewhat often. Asher and Dylan focus on setting up something further into the space, leaving Lucas alone.

He’s got his list again, distracted by it rather than the task at hand. Asher jogs over with Dylan on his heels, the two of them questioning why he’s been out of it this week and why he’s waiting up. Dylan holds up a bottle rocket impatiently.

> **Dylan:**  Come on. We know you like to have first light.

Idiotic antics aside, Asher observes Lucas for a moment before wondering if he knows that if something major were going on, he could talk to them about it.

> **Asher:** Whatever’s going on, you know you could talk to us about it, right?  _[ off Dylan’s nod of agreement ]_  I mean, no guarantee that we’d have good advice –
> 
> **Dylan:**   _[ with a snort ] Definitely_  not.
> 
> **Asher:**  But we’d listen. We got your back. You know?

Lucas examines the two of them – his truest lieutenants – and just takes them in for a long moment. It’s difficult to imagine what his day-to-day would be like without them in it.

He assures them he’s aware, then tells them not to worry about it. He directs them to go finish setting up the rocket, to which Dylan cheers and sprints back over. After they’ve gone far enough away, Lucas takes a moment to add their names on the pros side of the list as a totally separate entity from the rest of the techies.

With that, he officially comes out to an even tally – no clear decision. All that remains in flux is  _Riley_ , now having been underlined and with a couple of question marks.  _This indecision’s killing me…_

**INT. AAA - ERIC’S OFFICE - DAY**

Jack stops by Eric’s office, surprising him given they rarely have cordial friendly chats with one another. He attempts to play it casual at first, commenting on how lovely the auditions have been so far. Since only three have auditioned, guess their job is pretty simple, huh?

> **Eric:** Yeah, for sure. And why are you here again?
> 
> **Jack:** What? I can’t come by to have a chat with my best counselor?
> 
> **Eric:** I’m your only counselor.
> 
> **Jack:**  And?

Eric gives him a look, breaking his facade. Jack relents, easing further into the room to settle into the chair opposite his desk. He gets into his qualm with Wyatt once again, especially now that Shawn and Angela have given him opposing advice.

He still feels stuck. He wants to make the best choice as an administrator, but he also knows that teenagers are stupid. They’re ignorant. They make mistakes. He’s seen that shift firsthand all year long, in just about every single one of their students. But he doesn’t want this behavior to continue either…

Eric empathizes, giving Jack what he’s been wanting to hear this entire time which is simply that there  _isn’t_  a right or easy decision. He just has to go with his gut. Considering he’s an excellent educator, Eric has little doubt that he will make the best one.

Jack appreciates the sentiment, but still isn’t convinced. He asks Eric what he would do in his position, seeking counsel from him seeing as that’s presumably his job title and all that.

After a beat of contemplation, Eric states that he thinks he would ask Wyatt to leave. Not because he’s irredeemable, but because they have to think about what is best for the collective. Regardless of how they feel about individual students, what always matters most is how  _all_  of them can best proceed. Isn’t that true?

Jack takes this to heart, genuinely grateful for the help. Eric accepts his gratitude, offering him an encouraging smile.

**INT. AAA - AUDITORIUM - DAY**

Lucas is seated on the edge of the stage, one leg dangling off the side as he painstakingly wraps microphone cables. Riley makes her way in from the audience entrance, hoping to find Isadora and stumbling into him instead. Their staging mirrors their face off at the end of 1.03, now with Riley standing in the aisles and looking up at him on the stage.

They’re a bit awkward with one another as she asks whether he’s seen Isadora, given how recent his rejection of her was. He claims he doesn’t know, curiously wondering why she’s trying to find her. Riley expresses that she wanted to ask her about the audition, letting it slip that she has almost effectively decided she’s not going to do it.

Lucas is shocked, coming off more miffed than he intends to. He questions if she’s serious, not believing there’s a world in which she’s not auditioning. Riley stammers into an explanation, Lucas remaining unimpressed as she lists all the factors that have stacked against her in the past week. He claims none of that matters.

> **Lucas:**  This is just you stepping back into the shadows because suddenly overwhelming factors have come into play. You’re really just going to go back to how things were? As if you’ve learned nothing?
> 
> **Riley:**   _[ scoffing ]_  Are  _you_  really about to give me this lecture right now?
> 
> _[ Lucas rolls his eyes, diverting his attention back to his cables. But Riley isn’t finished, storming closer to the stage. ]_
> 
> **Riley:** So what, you just want me to rock the boat for the sake of rocking the boat? You want me to just do whatever my mother says I should?
> 
> **Lucas:**  This isn’t about your  _mom_. And this isn’t about rebellion either. This is about you, and the fact that you are too  _damn_  talented to be stepping out of the spotlight just because other people want it. Just because someone else wants what you have doesn’t mean you have to give it up.

Choice words, and not a bad point. Riley absorbs this, crossing her arms and looking at her feet. Lucas gazes at her for a long moment, twisting the microphone cable in his fingers.

> **Lucas, calmer:** Earlier this year, someone told me that if something is important to you then you go out and do it. No matter what anyone else tells you to do or how to be. You stand up for yourself.

Lucas gets to his feet, placing the microphone in the box with the rest and snapping the lid shut. He hops off the lip of the stage, passing her to head back towards the technician’s booth. But he hesitates once he’s passed her.

> **Lucas:**  Are you really going to go back to hiding in the chorus line?

He doesn’t give her the chance to respond, marching towards the back of the auditorium. Riley looks over her shoulder and watches him go, obviously torn up all over again. For what it’s worth, what she wants suddenly seems less muddled than before…

**INT. AAA - HALLWAY - DAY**

Thus, march onward Riley does. She approaches the audition list, hesitating before officially adding a fourth name to the roster. All the sudden, there’s actual stakes to this game. As she writes her name, a voiceover of her introducing herself before her audition pre-laps…

**INT. AAA - AUDITORIUM - DAY**

Riley is alone center stage, spotlight shining on her. She’s squinting to attempt and see Eric, Angela, any of them – but it’s like they’re not there at all. Basically the entire class has showed up in the seats, wanting to see how a non-diva contender plans to throw down with such a bold move against the status quo.

Angela grants Riley permission to begin whenever she’s ready. Her fingers are shaking as she holds the microphone stand. She closes her eyes, taking a deep breath and grounding herself.

* * *

**Song Cue ♫ ♪ “She Used to Be Mine” as performed by Sara Bareilles || Performed by Riley Matthews**

If there’s a pivotal example of how much a performer can blossom in the span of a year, then this performance would be it. Although she starts out timid, Riley delivers an impassioned and powerful rendition of the Broadway belter, obviously channeling all of her emotion and passion into it like never before. It’s stunning, breathtaking, the kind of game-changer that throws this entire competition into a toss-up.

It’s a testament to how far she’s come that nearly the entire class seems impressed. They’re supportive too, smiling and nodding as she decimates the number. Isadora is smug on her behalf, glancing to the other techies proudly. Even Farkle is playing nice, although he’s starting to get a little twitchy…

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

As she rounds out the number, focus draws to Lucas in the booth. He’s totally captivated, although not that surprised – he’s the one who told her she had it in her, after all.

Still, there’s a contemplative edge to his expression. Trying to figure her out, wondering if he could actually walk away from her…

* * *

**INT. AAA - HALLWAY - DAY**

Inspired by Riley’s bold move, suddenly the audition list is swimming in the names of other hopeful auditionees. Farkle is staring at it, trying extremely hard to keep his cool and not freak out over the increasing loss of control.

Maya joins him, poking her chin over his shoulder and eyeing it as well before stating that he can’t keep watching it like this. Yet the two of them stare transfixed for a second longer, Maya physically having to turn them both away from it to break the trance.

She gives a pep talk, stating that they both gave kickass performances and all there is left to do is let the deliberation speak for itself. When Farkle doesn’t seem convinced, she tells him she’s getting him away from it. They’re getting out of there – they’re playing hooky. Now  _there’s_  a way to get the attention of a goody-two-shoes academic.

> **Farkle:** Um? I’ve never missed a day of class in my sixteen years.
> 
> **Maya:**  Aw, so honored to be your first time! Let’s go.

She grabs his hand, yanking him down the hall.

**EXT. NEW YORK STREETS - DAY**

Launching into their day of freedom, Maya and Farkle are meandering their way about town. They’re window shopping in the fashion district, sipping fancy coffee drinks and trying to find their zen – Farkle’s is pointedly marked  _decaf_.

As they chat, they somehow gets on the subject of the local theater scene and the hangouts for up and coming performers. Farkle claims that his parents have membership at this elite club lounge where a lot of Broadway performers congregate and rehearse.

> **Maya:**  What’s it called?
> 
> **Farkle:** _Emerald City_ , I think.
> 
> **Maya:**   _[ stopping cold ]_  WHAT?
> 
> **Farkle:**  I know, feels a little on the nose, but –

Maya grabs him by the shirt collar, yanking him towards her and causing him to drop his drink. She’s got a frenzied gleam in her eyes.

> **Farkle:**  I was drinking that!
> 
> **Maya:** You have access to the  _Emerald City_  lounge? Where the future stars of Broadway mix and mingle? Where it’s rumored Carly Rae Jepsen snuck her way in and was able to get her stint as Cinderella?  _How_  have you never told me this?
> 
> **Farkle:**  Ow, unclaw me, please!  _[ as she does so ]_  I don’t know, it never came up. I’ve always wanted to go, but I didn’t want to go alone. And to be fair, we weren’t exactly chummy for me to be sharing these things.
> 
> **Maya:** I know, I’m surprised you weren’t just bragging incessantly about it. And listen, had you mentioned this sooner? We would’ve been friends ages ago.

Farkle gives her a look, Maya nudging him playfully before insisting they have to go. If the only reason he’s never gone is because he didn’t want to go stag, well, that problem is now solved.

She starts to drag him down the street but he gets her to slow down, first thanking her for getting him out of that school and out of his own head. He truly needed it, and he’s grateful for it – and her. Maya grins, shrugging it off like it’s nothing.

* * *

**Song Cue ♫ ♪ “One Short Day” as performed by Wicked Original Broadway Cast || Performed by Maya Hart & Farkle Minkus**

As the jaunty and uplifting descent into glamourous kicks off, Maya and Farkle dance their way through the streets together as only two divas in paradise can. It’s endearing and comfortable, such a far cry from “What Is This Feeling?” in 1.03. It also doesn’t paint NYC in such a bad light either. In fact, it’s pretty damn beautiful.

On the beat where Glinda tells Elphaba they’re going to be late for “Wiz-a-mania,” Farkle gets caught up checking his phone. People are posting on their own accounts about how auditions are going, and the competition seems to be getting thicker and thicker. But Maya pulls him out of it, yanking him down the stairwell to the hidden depths of  _Emerald City_.

**INT. AAA - AUDITORIUM - DAY**

As Farkle and Maya enter the depths of the working performers, a montage ensues of the rest of the sophomore class performing their auditions.

**INT. EMERALD CITY LOUNGE - DAY**

An eclectic, shimmering testament to Broadway and those struggling to work in it,  _Emerald City_  is somewhere between a bar lounge and a dressing room. Maya and Farkle watch in awe as working actors and dancers buzz around them, before inevitably pulling them into the dance. Because it’s television, and  _musical_  television, and we can do what we want.

After the very necessary and super cute kick line, Maya and Farkle come back together to share their moment on the lyrics “ _and then just like now we can say…_ ” Farkle states that they’re “ _two good friends,_ ” before Maya takes his hand and holds their joined fingers up between them. “ _Two best friends._ ”

Then the professionals pull them back into the number, rounding out the number with a flourish. What a way to spend a school day!

* * *

**INT. AAA - TECHNICIAN’S BOOTH - NIGHT**

Lucas is back in the booth, although not in his usual chair. A little further into the booth, a panel has popped out of the wall and leaned against the electrical cabinet. And it’s the basic crawl space of an alcove that is revealed behind it where Lucas has built his hideaway, the place he sleeps when he’s avoiding going home. It’s not much, but it’s the coziest space he’s ever known.

This is where he is now, cooped up and regarding his full list. Cons include the horrible competitive environment, all the performers, the constant singing, etc. The pros, however, are strong and difficult to ignore – Isadora at the top and underlined, the techies, Mister Shawn, Principal Hunter (someone has to keep his life interesting), Dylan and Asher…

And yet, the tally comes to an even draw. All save for Riley at the bottom, somehow having become the deciding factor.

The booth door opening scares Lucas out of his melancholy. He scrambles to get up and start frantically attempt to hide everything away, when Isadora appears around the other side of the electrical cabinet. She tells him to relax, he doesn’t have to pack away his whole set-up. Also, she brought dinner. Lucas tries to act indifferent about her discovering his shelter, but she truly isn’t all that impressed.

> **Isadora:**  You really thought I didn’t know about all that? It’s not hard to deduce. You hate being at home. You’re always in here, and you’re always here first thing in the morning, which I know isn’t plausible otherwise because you’re  _not_  a morning person.
> 
> **Lucas:**  Well, when you put it that way.  _[ a beat, softer ]_ Forget you’re a genius, sometimes.
> 
> **Isadora:**   _[ with a shrug ]_ You’re my best friend. It’s not that hard to figure you out.

He sits back down in his alcove, Isadora settling down across from him. She asks how his “hypothetical” is going. He defensively wonders if she’s figured that all out too, which she admits she has not. But she claims that if it were truly important, she knows he would tell her.

In this case, far from the truth. There’s a reason he’s avoided telling her what’s going on outright – he can’t imagine how she would take the news that he may be leaving for good. He explains that he’s hit a dead end and doesn’t know how to move forward. He’s done the pros and cons like she said, but he’s torn on this last factor that might tip the scales in either direction.

> **Isadora:**  First things first, is it an important factor? If it’s extraneous, then you shouldn’t even bother with it.
> 
> **Lucas:**  … yes. Yeah, it is. How do I determine where it falls?
> 
> **Isadora:**  Well, if this were an actual scientific theory, your next step would be to draft an experiment. Decide what you want your hypothesis to be – which outcome you  _want_  it to be, unless we’re talking null hypothesis – and then find a way to test whether or not it’s true. That’s what any good scientist would do. Basic scientific method.

Lucas takes this in, already puzzling over how to accomplish such a thing. Isadora distracts him by tossing food at him, commanding him to eat. He relents, digging in with her.

**INT. ANGELA’S APARTMENT - NIGHT**

Angela is typing out an email to the touring company, effectively making her decision. From the looks of it, it seems as though she’s going to decline the offer. She’s interrupted when there’s a knock at her door.

Shawn is on the other side, holding a bouquet of flowers and ansty with earnest. Angela starts to question what he’s doing but he cuts her off, stepping in past her and launching into a poem from the book she gave him. The thematics are essentially well-matched to their current situation, and Angela can’t help but giggle in a  _what are you doing_  sort of fashion.

When Shawn finishes the recitation, he puts the flowers on the table and takes her arms. He’s breathless with nerves, but clearly wants her to hear him.

> **Shawn:**  I’ve changed a lot since the last time we had these conversations. I have, but I sure wasn’t acting like it. I’m sorry about the way I reacted, and I don’t care if you want to pursue this thing. In fact, I’m proud of you, and I  _want_  you to, if that’s what you want. And if it means another few years apart, then so be it. We came back to each other once.

Angela doesn’t even know what to say. She doesn’t know how to convey that she was going to decline the offer, or if she even still should with this turn of events. Thankfully, she’s saved by the bell, in this case her cell phone ringing. He steps back and allows her to pick it up.

As she engages with the call, we can tell that the news is shocking. Shawn tries to get something out of her as she listens, desperately trying to get a read on the situation. When she hangs up, she just stares at him for a couple of seconds.

> **Shawn:**  Ange, you’re killing me.

Angela manages to stammer out that she’s been offered a role in an off-Broadway show. Then, she’s finally able to grin. She repeats the statement, trying to make herself believe it. It’s not her big break, no, but it’s a start – and it’s  _here_. She doesn’t have to go anywhere. The two of them, her time here, aren’t finished quite yet.

Shawn pulls her into a hug, lifting her and spinning her. When she lands back on her feet, the two of them share a big damn kiss –

**INT. AAA - HALLWAY - DAY**

The sophomore class is assembled outside the door to the black box, anxiously waiting for Angela to put up the finalists for Kossal. The performers are trying their best not to throw jabs at each other, while the techies hang back against the wall and watch the near stampede in mild amusement.

> **Lucas:**  If any of you decide you’re going to the pit because of this, can I watch?

Riley tells them to ignore him, reminding the core group that whatever happens, they’re going to be happy for one another. They all agree, although it’s hard to tell if that sentiment is going to hold true…

Angela emerges, silence immediately settling over the crowd. You could hear a pin drop. She begs for a moment to escape once she puts it up before they all stampede, then moves to pin the list onto the bulletin board. She dives back into the classroom and slams the door just as the wolves descend, trying to see who got the three coveted spots.

Farkle elbows his way through, making it to the front first and getting a look for himself. From his expression, we can almost imagine the list before we see it.

_Zay Babineaux. Maya Hart. Riley Matthews._

No Farkle Minkus. No summer program. No successful path to the top.

Sound grows muted around Farkle as the others get close enough to look for themselves. He can’t bring himself to react. He can’t even breathe.

He’s jostled out of it when Charlie bumps him in the back on accident, en route to giving Zay an enthusiastic hug. Maya and Riley eagerly congratulate one another, turning expectantly towards Farkle. Obviously not certain what to say to him, but hoping he’ll opt to take the gracious approach instead and make it easy on them to enjoy their laurels.

What do they want from him? A congratulations? Farkle doesn’t have it in him to give. He sort of sputters an incoherent statement and backs away, trying to wrap his head around it. How this could have possibly happened.

> **Zay:**  Seriously? Are you about to diva meltdown? What happened to being happy for each other?
> 
> **Farkle, panicked:** Yeah, well, that’s easy to say when –
> 
> **Charlie:** It’s okay, dude. There will be other opportunities –

Farkle is beyond that. He’s sliding back into manic, figuring he must have let himself slip up somewhere along the way. Or that this is all some elaborate ruse on their part – like they all knew if they got him off his game, he’d be easier to thwart.

> **Zay:** You think I’d  _choose_  to be friends with you just to get some made up advantage over you? Believe me, man, I don’t hate myself that much.
> 
> **Riley:** Farkle, that’s not true –
> 
> **Maya:** Farkle. _[ breaking through the haze, over everyone else ]_  Can’t you just be happy for me?

She holds his gaze, obviously hurt. Hoping he’ll say the right thing. But all he can manage is a non-answer.

> **Farkle:** I – need a second. I need – just leave me alone.

Farkle storms away towards the auditorium, desperate to escape. The others watch him go, a myriad of emotions swirling around them but disappointment being the most unifying one.

> **Zay:**  Guess people don’t really change.

Maya looks more wounded than anyone else. She breaks away from the group, marching in the other direction.

**INT. AAA - JACK’S OFFICE - DAY**

Jack is having his final conduct meeting with Wyatt, having made his decision on what his punishment will be. Eric is also present.

The final verdict is somewhere down the middle: Wyatt is being expelled from AAA effective at the start of the new term, but he will be allowed to finish out the remainder of this school year. Wyatt doesn’t have any complaints at this point, resigned. He claims that AAA is a hellscape and totally corrupt. The administration clearly has their favorites, and they have no idea how rotten the place is from the inside out.

> **Eric, calmly:** You seem quite critical of this so-called rotten environment, in spite of how you had an active hand in keeping it alive…

Wyatt chooses not to comment, Jack dismissing him. As he heads out, he warns Jack that getting rid of him isn’t going to get rid of the problems at Adams. For one, he’s not the creator of the  _AAAC_ , but more pointedly the page is not the perpetrator of all the mean stuff people say about each other. They do all that themselves. Like he’s been saying, it’s just the messenger. And they’ve just shot it.

> **Wyatt:** So if you really believe you’re making a difference, maybe you try tackling the toxic waste that serves as the very core of this school. But that would require actually being a competent administrator, so…

Eric rises and shoos him out, Jack taking the intended hit anyway. He closes his eyes and rubs his temples as Eric shuts the door behind Wyatt, releasing a sigh and claiming he thinks they made the  _right_  choice expelling that kind of bad energy.

When Jack doesn’t seem placated, Eric settles down across from him and comes to his defense. Wyatt is just postulating, and he made a good decision.

Jack nods along, but it’s evident there’s a lingering inkling of doubt…

**INT. AAA - ATRIUM - DAY**

As Wyatt exits the front office, he pulls out his phone. He crafts a message to  _AAA Confessions_ , warning them that Jack is on the warpath. The page is probably going to be officially shut down before the end of the school year. What are they planning to do?

The confessions page starts a message back… then doesn’t respond. Wyatt never gets an answer.

**INT/EXT. LUCAS’S BEDROOM / LUCAS’S FIRE ESCAPE - DAY**

Lucas is flipping through the McCullough pamphlet, but he can’t stomach looking at it for too long. Still feels like too daunting a decision to make.

He climbs out onto his fire escape, settling down and releasing a sigh. He stares out towards the city for a moment, then reaches into his pocket and pulls out his phone. He starts a message to Riley, but nothing he wants to say comes out right. He finds himself calling her instead.

> **Lucas:**  Hey. I know I said… _[ a beat ]_ things have been kind of… _[ willing himself to be outright ]_ Do you still need a plus one?

Let the experiment begin…

**INT. AAA - HALLWAY - DAY**

School has emptied out for the day, only a few stragglers left behind. Farkle is back in front of the bulletin board, staring at the three names and unable to believe that he’s not there.

Something about him isn’t quite right. He’s frantic, frenzied in a way that’s beyond just disappointment from a jilted diva. The longer he glares at the list, clenching his jaw and fidgeting in place, the worse the hysteria seems to become.

* * *

**Song Cue ♫ ♪ “It’s All Over” as performed by Glee Cast || Performed by Farkle Minkus (feat. Zay Babineaux, Maya Hart, Riley Matthews, Isadora De La Cruz, Charlie Gardner, and Lucas Friar)**

_**[** Lyrics specific to characters – follow along [here](https://docs.google.com/document/d/1tm6SbHGMsyk2EuN_XW6kpRIffItp8KdjvYTq88VRkgI/edit?usp=sharing)! **]**_

Farkle spits the words “ _Miss Moore was supposed to love me, I turn my back and find myself out on the line_ ” towards the list, before whipping around –

**INT. AAA - AUDITORIUM - DAY**

And suddenly center on a brightly lit stage. It’s almost glaringly bright, to the point where it would hurt to look at. If you’re not in his immediate line of sight, then you’re shrouded in shadow – which is how the figures standing on the stage look to him until they make themselves known and step into the light to argue with him.

Although the rest of the core group is included in the number, it’s more than clear that they’re not actually there. This isn’t actually Maya, Zay, even  _Lucas_ singing in opposition to him – they’re all in his imagination, but it doesn’t make it feel any less real. In regards to who is saying what, well, if you read any set of specific lyrics in this show, let it be this number.

As Farkle grows more and more frantic, the opposition towards him grows more and more pronounced. Although this whole thing started with a dashed dream, the way he’s so emotional over them all “dropping” him through the course of the song or turning him away seems like a greater trigger for him than the missed opportunity. So it’s not actually clear  _what_  is causing the meltdown, or if he really knows himself.

All he knows is that the entire core group is telling him it’s all over, and he’s fighting against it with whatever he’s got – back to the teeth-gnashing, scrappy, obsessive starlet who clawed his way to first on stage at the start of the school year.

* * *

 

No, Farkle Minkus is far from going quietly. He’s not going anywhere, and he swears that this isn’t how this is going to end.

Oh, boy…

_END OF EPISODE._


	14. The World Will Never Be the Same [ 1.12 ]

**_Cue title sequence._ **

**_Over the opening titles, we hear Farkle murmuring to himself and clearly trying to get something in order. As the title sequence fades to black, it seems like he’s got it figured out._ **

> **Farkle:** Okay. I think – okay. Here goes nothing…

**INT. AAA - COSTUME LOFT - DAY**

Open on a tight screen, emulating the format of an iPhone video. FARKLE MINKUS is alone in the costume loft for a semblance of privacy, the camera in selfie mode. He’s preparing to record, and clearly a man on a mission.

He appears more polished than we’ve seen yet, back in his sharpest blazer and with his hair neatly coiffed although still somewhat untamed. It’s a complete u-turn from how he was starting to mellow over the course of the season.

When he starts to speak, however, that put together facade quickly loses some of its credibility. As he figures out what he wants to say, he’s a bit manic. He’s himself, but also not quite himself at all. Something is off, but he’s indisputably in a frenzy. That much is certain.

As he starts to speak, the purpose of his video becomes clear – and the fact that he doesn’t necessarily intend it to be meant just for him.

> **Farkle:** Obviously, I don’t want my name on all this, but – I don’t know. I’ll leave it up to you to decide how to lay it all out there. You’re good at that. I’m just recording rather than typing because…  _[ a breath ]_ It’s a lot. There’s a  _lot_  I have to say. So, without further ado: a conclusive series of explanations as to why Farkle Minkus was robbed of a coveted Kossal audition spot, when he deserves it more than anyone else. And here’s why.

This can’t end well. Farkle is impassioned as he kicks off his rant, and as he shifts focus to each subject of his tirade…

**INT. MAYA’S APARTMENT - DAY**

… we’ll be following them while his monologue voices over it. He starts off guns blazing with his former best friend, MAYA HART. She’s in the midst of getting ready for school, rehearsing her Kossal audition number as she goes. She’s practicing 24/7 at this point, she may very well be singing in her sleep.

But she’s also obsessive over it. She’ll hate the way one note came out and start the whole thing over from the beginning, becoming increasingly frustrated with herself. Trying incredibly hard to get that vocal power just right.

> **Farkle:**  So, let’s get the obvious out of the way. Maya Hart. Sure, Maya has the vocal chops, and she can do runs for days. But is that really deserving of an audition slot on its own merit? When other candidates were clearly as good, if not better? I mean, we’ve all heard me – I mean, Farkle – sing, I think we can attribute that there’s a clear superior performer between the two.

As she grabs her bag and reaches for her phone, she checks her message thread with Farkle. Their conversation has gone totally dry, the two not having exchanged words since the Kossal school-wide picks went up. However, there’s an ongoing message in her chat box, depicting that she’s been drafting a message for a while to send him.

It’s somewhere between a lecture and an apology. Somewhere between being pissed at him for being so selfish and not being happy for her, but also sincerely sorry that he didn’t get the opportunity when she thinks he deserves it too. Not enough to give it up herself, of course, but definitely starlet empathy. More than anything, it’s clear that she wants to talk to him. She  _wants_  them to be friends again.

In the end, she deletes it. Opting not to say anything at all.

As she heads out the door, she passes KATY HART, who is at the tiny kitchen table. She’s working with the sewing machine and doing painstaking alterations to Maya’s audition dress, having basically made it herself.

> **Farkle:**  So then, why Maya, if their criteria are so similar? Well, one might go for the obvious gender route, but it’s much more likely that the administration felt their scholarship student might need a little bit more of a boost. Yes, that’s right, Maya is on scholarship – insane, considering how terrible her grades are, am I right? But you know, it’s true, nothing is more compelling a support system than sympathy…

Maya gives her a kiss on the cheek as she leaves, thanking her for working on the dress. Katy pats her cheek, sending her on her way.

**INT. RILEY’S BEDROOM - DAY**

Next up is RILEY MATTHEWS, starting off her day by adjusting pieces of her moodboard. She’s pinning up her honorary invitation to the Jacobs gala – right next to the  _“you’re better”_  notes exchange. She lets her gaze linger on both, a smiling brightening her face as she pulls her bag onto her shoulder.

> **Farkle:**  Speaking of sympathy, there’s a lot of that at play when it comes to Riley Matthews. Not necessarily towards her – I mean, who needs sympathy when you’ve got so many power players in your court to uplift you whether or not you earned it. Think about it, her father is a teacher, her uncle is counselor and essentially second principal and was, in fact, one of the four on the panel for judging. So of course they’re going to give a spot to Riley, especially given how much dirty work she’s done for them this year…

On her way out, she touches the beautiful lavender evening gown hanging on the back of her door. It’s clear she’s far more excited about the gala than she was before.

**INT. AAA - BOYS DRESSING ROOM - DAY**

Focus shifts from Riley to LUCAS FRIAR, not in the technician’s booth but the boys dressing room. It may be the first time he’s ever willingly stepped foot in the space.

He’s in front of the mirror, fumbling with his hair in an attempt to make it look presentable. This is likely the most effort he has ever put into his appearance, and it’s clear he’s not having an easy time of it. No matter how much he fusses with it to make it look neater, he’s not pleased with it.

> **Farkle:** I mean, why else would she put in the effort to befriend jackass Lucas James Friar, other than by special request from her favorite counselor uncle in an attempt to make sure he doesn’t make a hit list or some shit considering he’s so openly pathetic. Riley Matthews doesn’t need sympathy, but she’s sure good at giving it…

A text comes through on his phone, disrupting his stress. It’s from his mother.  **“Let me know about MC ASAP please. App deadline this weekend.”**

Lucas takes this reminder in, glancing at himself in the mirror once again. Still fundamentally dissatisfied. Lots to think about… lots riding on his hair not looking like a mess…

**INT. FOSTER HOME - KITCHEN - DAY**

For ISADORA DE LA CRUZ, the morning involves dodging her younger foster siblings as she tries to get half a meal in before rushing off to school. TESSA CHAN bumps into her while chasing JULIAN NORTH (12) around the kitchen, causing her to snap at them both.

She grabs her phone before she heads out, checking another text from Riley. It’s clear she’s gotten quite a few from her over the past few days, essentially begging her to take her audition slot for Kossal. An interesting choice…

> **Farkle:**  Which explains why of all the people she could be attempting to pawn off her audition slot to, she picks Isadora Smackle. Oh, sorry, I mean De La Cruz. She’s had a rough year, with all her famous mom business coming out, so I guess it makes sense that she deserves one shot to prove she actually can live up to the family business without having to do any work for it. Sucks that it’s so late notice her best friend won’t even be there, as he’ll be too busy on his pity date with Riley. How tragic.

Isadora doesn’t answer, shuffling out the door.

**INT. AAA - DANCE STUDIO - DAY**

ZAY BABINEAUX is rehearsing his routine for the auditions, clearly having been in the studio for more than an hour or so already. He’s drenched in sweat, shaking his head, his nerves throwing him off. He can only practice it so many times over before it starts to fall apart.

> **Farkle:**  I’d mention Zay, but considering he’s always bragging about how he’s so above all the drama, I guess we’ll see how he feels when he’s not mentioned at all. He does claim to be so constantly overlooked, after all.

Zay finishes another round, obviously not happy with it. He collapses into a sitting position, tugging at his hair before hiding his head against his knees. Pushing himself to the brink.

**INT. AAA - COSTUME LOFT - DAY**

Farkle rounds out the rant, letting out a resounding exhale. Considering how breathlessly he delivered it, it’s amazing he didn’t pass out. He concludes the recording by sharing the same sentiments he declared all the way back at the start of the year – he’s the next big thing, he’s not going anywhere, and this belongs to him. Regardless of what other people have decided or what other factors try to get in his way. And no one should ever damn forget it.

As he ends the recording, the screen returns to normal. Farkle takes a moment to save the video, preparing to send it. After a moment, it becomes clear to whom:  _AAA Confessions_.

He types out a quick message explaining again that he simply recorded the video because there was a lot of content to type, they should put them into separate posts and do whatever with the images, etc. He doesn’t want credit, he just wants these truths known.

A second of hesitation conveys that Farkle isn’t as war-mongering as he seems. While his thumb hovers over the send button, there’s the distinct feeling that he knows this can’t be the right avenue for dealing with things. There’s a part of him who wants to take it back before he even puts it out there.

Yet, he hits send anyway. He releases a huge sigh, exiting out of the private messages and checking the page for himself. It’s been abnormally quiet the last week or so, no new posts present since Wyatt was brought in for questioning. Some are even wondering if the page is dead for good. It’s not clear whether Farkle believes that or not.

While he feels a bit cleansed just to vent all of his frustrations, he doesn’t seem nearly as satisfied as he thought he would be. Something still feels empty.

* * *

**Song Cue ♫ ♪ “Everybody Wants to Rule the World” as performed by Tears For Fears || Performed by Farkle Minkus**

The opening tones of the track trickle in as Farkle makes his way down the ladder of the costume loft, back into the darkened and empty auditorium.

**INT. AAA - AUDITORIUM - DAY**

He launches into the song as he makes his way into the glow from the ghost light at center stage, illuminating him in shadow. In spite of its upbeat vibe, Farkle’s rendition of the song speaks truthfully to the ominous undertones that the lyrics provide.

**INT. AAA - HALLWAY - DAY**

Farkle continues the solo as he parades through the halls. The school is shifting around them, gearing up for summer. The remnants of sophomore year are tumbling down… nothing ever lasts forever…

* * *

As Farkle wraps the track, he saunters backwards and disappears into the crowd of students. Focus shifts to CHARLIE GARDNER instead, heading towards the studio classrooms. He’s carrying a thermos and moving with an impressive amount of enthusiasm for so early in the morning. As he finds the correct studio and steps through the door –

**INT. AAA - DANCE STUDIO - DAY**

Charlie enters just as Zay is wrapping up another run through of his audition, having managed to pull himself out of a heap on the floor to do it again. Charlie hangs back for a moment to watch, entranced as usual, before he announces his arrival. It totally disrupts Zay’s flow, causing him to jog and turn off the music.

As they get to talking and Charlie asks how it’s going, Zay’s nerves about the audition become more evident. He’s frustrated that he keeps messing up steps, somehow he’s always a couple beats behind or ahead, and he doesn’t know what’s going on. He’s totally wigging out, which he never has before.

Charlie reassures him, placing the thermos on the piano top with Zay’s speaker so that he can grab his shoulders and tell him to get a grip. He’s stressing way too hard for someone so naturally gifted, and there’s no way the judges aren’t going to like whatever he does.

> **Charlie:** I mean, at this point with Riley maybe or maybe not participating and Maya distracted by beefing with Farkle, you could probably walk on that stage and do  _Teach Me How to Dougie_  and they’d still pick you.
> 
> **Zay:**  It’s just “dougie” – nevermind, I don’t have the energy to explain this to you.

Zay laughs mockingly, not buying it. Charlie claims he’s got a pretty light week, so if it would be useful, he can put in the time to help him rehearse.

> **Zay:**  You really don’t have to do that.
> 
> **Charlie:**  Nah, it’s cool. I want to.

So now we’re doing things because we want to, huh? Charlie grabs the thermos as Zay gathers his things, handing it to him when they’re back together. He questions it at first, before Charlie goes on to explain that it’s his mother’s chicken soup recipe. It’s basically a certified energizer potion, and he knew he’d been working himself to the bone so he figured he might need it.

> **Zay:** _[ after taking a sip ]_ This is like witchcraft. I thought you Catholics didn’t believe in that nonsense.

Charlie can’t help but laugh, patting Zay on the shoulder as the two of them head to class.

**INT. AAA - HALLWAY - DAY**

Riley is at her locker, killing time before class but keeping a careful eye out in the halls. She double takes when she spots Lucas leaving the dressing room hall, quickly closing her locker and jogging to catch up to him.

He slows down and turns to look for her when she calls his name, waiting for her to reach him. The two of them keep walking as she greets him enthusiastically, before getting distracted.

> **Riley:**  Did you do something new with your hair?
> 
> **Lucas:** What? Oh, no. No, uh, just  _[ with air quotes ]_  “woke up like this,” or whatever.
> 
> **Riley:**  Oh. Well, it looks nice. You’re still coming on Friday, right?
> 
> **Lucas:**  Planning on it. Unless you were thinking – ?
> 
> **Riley:** No! No, no change of plans. Just wanted to confirm. I’ll text you deets later today, Eric is supposed to give me the whole spiel this afternoon.
> 
> **Lucas:** Okay. Cool.
> 
> **Riley:**  Cool… yeah. Yeah, cool. Super cool.

Lucas asks if Riley was able to figure out the whole conflict with the Kossal audition. He reiterates that she should go to that if she wants to and shouldn’t even bother with the gala just because she already extended an invitation to him, but she waves him off. She states that she’s working on the fix, but as far as she’s concerned she’s going to the gala – audition resolved or not. So he shouldn’t make any other plans.

As she flutters away, Lucas watches her go. He can’t help but smile a bit before he heads in the other direction.

**INT. AAA - ATRIUM - DAY**

Maya is on the front steps with DARBY WINTERS, SARAH CARLSON, and CHAI FRESCO, back to her old throng now that she and Farkle have cut ties. She’s holding court while Darby plays with her hair, trying out some new styles for her upcoming audition. Chai and Sarah are researching makeup palettes, but Maya vetoes everything they come up with. It’s clear she has no idea what her “look” is going to be like, and this is because of the fact that her dress isn’t finished yet.

Chai points out that it’s taking an awfully long time for her to get her aesthetic together, considering the audition is in like three days. Shouldn’t she know her dress by now? Maya manages to redirect, claiming she’s best when she’s working on the fly. The dress is simply taking so long because it’s being custom-made by a New York designer that she has connections with as a favor. She doesn’t want to rush an artist.

Sarah and Darby are impressed and chatter about it, but Chai doesn’t look all that convinced as she goes back to makeup palettes.

Farkle appears at the other end of the hall, locking eyes with Maya when she raises her head from her phone. They hold eye contact for a long moment, but neither of them move to say anything. Farkle heads in the other direction.

Darby pulls her hair too tightly, pulling her out of the moment. She winces and slaps at Darby’s hand, earning a quick apology from her.

**INT. AAA - JACK’S OFFICE - DAY**

ANGELA MOORE is seated across from JACK HUNTER, the mood bittersweet. She’s finalizing her resignation paperwork.

Jack reminds her that it’s hardly an official goodbye, as he has the paperwork for her part-time position right there on his desk. She laughs anxiously, grateful for his attempt at making this feel less serious than it is. She admits that she mostly just can’t believe that she’s trying her hand at this crazy dream again.

He reaches out and pats her hand, assuring her that she is one of the most talented people he has ever met. She has what it takes, just like any of the students they teach every day. Angela clearly takes the sentiment to heart, squeezing his hand back before releasing a sigh and passing over the signed paperwork. Despite how many times this dreamy drama coach and analytical principal have butt heads, it is clear they hold an unwavering respect for one another.

Jack asks her how the students reacted to the news, revealing that Angela actually hasn’t told them yet. He’s surprised, and urges her to break the news sooner rather than later. She doesn’t want to leave them hanging only to not be there the way they expect next year. She’s hesitant, but she knows he’s right. She doesn’t have any idea how.

Their conversation is interrupted when Lucas shows up in the doorway. Jack expresses surprise, wondering if he forgot a disciplinary meeting or something. Lucas claims he just wants a second to talk, but he gets the vibe from Angela that maybe he’s interrupting something important and can come back later.

Jack waves him off, dismissing Angela warmly and shaking her hand as she gets up to leave. As she passes Lucas in the doorway and he steps inside, she gives him a tight nod. Then she’s gone, leaving the two of them alone.

Lucas nosily asks what is up with Miss Moore, but Jack changes tracks back to the subject at hand and asks him what he stopped by for. Lucas claims it’s sort of a weird request, to which Jack blithely points out that there has never been one conversation between them that has not weirded him out in one way or another.

> **Lucas:**  Do you have a suit jacket I could borrow?
> 
> **Jack, somewhat amused:**  Considering my typical workplace attire, I’d say yes, I probably have one I can spare. Dare I ask why…?
> 
> **Lucas:**  Well, Riley invited me to this gala thing, and it’s supposedly a pretty spiffy to-do or whatever, so…
> 
> **Jack:**  Oh, you’re going to the Jacobs gala?
> 
> **Lucas:** Is that a problem?
> 
> **Jack:**  No, no. Not at all. Not what I would’ve anticipated if you asked me six months ago, I’ll admit, but certainly not a problem.

Jack goes on to explain that he’ll also be attending, and plans to carpool with Eric and Riley.

> **Jack:**  If it would be helpful, I could swing by and pick you up on the way to get them. If that’s something you’d be interested in.
> 
> **Lucas:**  Uh, yeah. Yeah, that would be great actually.
> 
> **Jack:** Excellent. Sounds like a plan, then.
> 
> **Lucas:**   _[ clearly weirded out by the pleasantness of the conversation ]_ Okay. Great.
> 
> **Jack:**  Great.

Lucas blinks at him, then reaches forward and knocks the pen Angela was using off the desktop before rushing out.

> **Jack:**  Not every conversation we have has to end with you knocking something over!
> 
> **Lucas:**   _[ from outside ]_  Weird!

Jack shakes his head, but he can’t help but smile in amusement. He picks up the pen from the ground, looking over Angela’s paperwork with a sigh.

**INT. AAA - HALLWAY - DAY**

Everything is falling into place – except one slight detail. Riley chases after Isadora as they make their way to the auditorium, making one last plea for her to take the audition spot on Friday. Despite Riley’s enthusiastic ramblings as to why she should invest in the opportunity, Isadora is highly skeptical. She asks why she doesn’t just give the spot to say, Farkle, since he’s being such a brat about the whole thing anyway.

Riley concedes this point, admitting that she could surely give the slot to any of their classmates. But she  _wants_  to give it to Isadora, as she tries to make clear as they enter the auditorium.

**INT. AAA - AUDITORIUM - DAY**

A few of their classmates are already seated in the first few rows, Riley and Isadora some of the earliest to arrive. Riley manages to slide in front of Isadora, walking backwards down the aisle in front of her and trying to get her to listen.

> **Riley:**  Izzy, you are talented. So talented. And I know that you don’t believe it, so you’re never going to take the steps to get these opportunities yourself. _[ off Isadora’s irritated look ]_  If you take this one, maybe you’ll see that this is something you were born to do, just as much as the rest of us. Please. Please?
> 
> **Isadora:** _[ hesitating, then sighing ]_  I may have brainstormed a couple of potential numbers in the off-chance that you didn’t let this go –
> 
> **Riley:**  Yes! Yes!

Riley claps excitedly and basically skips the rest of the way to their seats, already pulling Isadora into eager conversation about it. So it’s settled – Isadora  _will_  be taking the third Kossal audition slot for AAA.

As the rest of the class files in, SHAWN HUNTER takes center stage and works to gather their attention. He gives a brief overview of what the last week of classes is going to look like, discussing their final exams which will involve solo performances or projects of their choice and will be presented to Shawn and Angela only.

While he speaks, Maya waits impatiently in the front and center seat, bouncing her legs and exchanging tense eye contact with him. Finally, Shawn sighs, wrapping up his opening spiel and deferring to Maya who clearly requested permission to take the stage beforehand. She leaps up without hesitation, jogging up onto the stage as Shawn exits.

All eyes on her, Maya claims that in spirit of camaraderie – and also in the search for feedback – she has already prepared her Kossal audition ahead of time and would appreciate if she could give a preview performance. She also makes a subtle dig at Farkle, which is pointed considering her whole number is about to be a rather large “screw you.”

> **Maya:** And just in case anybody had forgotten, I earned my audition. Hopefully, this will remind you all of why.

* * *

**Song Cue ♫ ♪ “Diamonds Are Forever” as performed by Sabrina Carpenter || Performed by Maya Hart**

A ballsy and banging vocal display, Maya shreds through the pop track with an energy that could only be described as defiant. It’s as impressive as her solo from the pilot and her audition just an episode ago, but it’s alive with something much more raw and intrinsically her. It’s on  _fire_ , and that’s a whole other level for Miss Hart.

Still, there’s something about the performance that doesn’t deliver right. Because it’s driven with such a petty edge, it doesn’t quite land. On one of the repetitions of  _“Money don’t buy class,”_  she make a very pointed head tilt towards Farkle and they lock eyes. He slouches further in his seat, crossing his arms and looking away.

Circling around her, the light throws her in shadow as we transition…

**INT. AUDITION HALL - THEATER - NIGHT**

… to Maya’s actual audition, flash forwarding to Friday evening. The lighting is far more dramatic, the auditorium unfamiliar and grandiose. Maya is in her finished audition dress, a killer black number with stunning hair and makeup to match. The stage is backlit behind her and a spotlight shows her in her full diva glory.

In the darkness of the auditorium, a panel of judges lift their gazes, jot notes, etc. They’re shrouded in shadow, and far less reactive and friendly than the familiar faculty judges. It’s impossible to tell what they think of the performance, despite how damningly good it is.

This version of the performance carries us to the end, the angle of the camera lining up so that the fiery mezzo is cast in shadow. Leaving the atmosphere tumultuous, a bit uncertain…

**INT. AAA - AUDITORIUM - DAY**

Maya wraps up the number as the piano tinkles out the last couple chords, obviously more emotionally vulnerable than she intended to get. She takes a deep breath, letting out a curt little “thank you” before excusing herself from the stage.

* * *

Everyone else hangs in the quiet, not sure how to react or what to say. Farkle watches her disappear into the wings, clenching his jaw.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Isadora joins Lucas in the booth, taking a minute to find him. He’s back by his nook, gathering some things to take back to his apartment for the weekend. When he asks what she wants, she begins to explain before getting stuck on another change.

> **Isadora:**   _[ with a sneer ]_  What did you do to your hair?

Lucas, embarrassed, fusses it up with his hand and shrugs offhandedly, mumbling an explanation. But Isadora is already past it, explaining that she’ll be auditioning for the Kossal program. When Lucas expresses shock, she elaborates.

> **Isadora:**  Riley passed her spot off to me. She said she had some other conflict that she deemed more important.
> 
> **Lucas:**  Oh. _[ a beat ]_   _Oh_ …

Isadora is clearly excited about the opportunity, in spite of how aloof she’s attempting to come off. She questions if he’ll be able to help her rehearse, or at least guarantee that he’ll be there. Everything is unfolding so fast, Lucas can hardly keep up.

> **Isadora:**  You are going to be there, right? I don’t think I can do this if you’re not there. I know it’s not your scene at all –
> 
> **Lucas, blankly:**  I can’t. I have another commitment.
> 
> **Isadora:**  Seriously?  _[ snorting ]_  What else do  _you_  have going on?

Not an unfair comment, but a bit harsh. Lucas gives her a look, and she apologizes quickly before reiterating how important it is to her that he be there. Lucas stares at her, clearly torn. He doesn’t want to let her down…

> **Lucas:**  I’ll see what happens. Maybe I can get out of the thing early. Might need a convenient escape route, actually, depending on how things go –

Although Lucas says it all noncommittally and doesn’t sound optimistic, for Isadora it’s as good as a guaranteed yes. Her strength has never been taking tone or verbal cues into consideration, so in her eyes it’s a done deal. He’s going to be there. She can move forward with it because she knows he’ll have her back.

Oh, boy.

**INT. AAA - DRESSING ROOM HALL - DAY**

Farkle is waiting in the hall outside the girls dressing room, nervously checking the  _AAAC_. As it has been for days, it remains dead quiet. As if that doesn’t make his anxiety about the whole thing worse… it’s not clear whether he wants it to update or wants confirmation that it will never post again.

He’s torn from it as Maya emerges from the dressing room, pulled back together but cheeks flushed. She snaps at him, asking what he’s doing hanging around. He straightens up and clears his throat, claiming that she said she wanted feedback before launching into a list of every single imperfection of her performance in a passive-aggressive tirade.

Maya elects to continue ignoring him, brushing her hair out of her face and heading towards the doors to the rest of the school. It’s the dismissal that truly makes Farkle snap.

> **Farkle:**  What, do you really think you’re so much better than me all the sudden? Just because of one audition?
> 
> **Maya:**  Bye, Farkle.
> 
> **Farkle:**  As if the only reason you have this spot over me isn’t because of charity?

Maya freezes, totally hit by that comment. It knocks at the one insecurity Farkle knows she has, that she’s been desperately trying to keep a secret for so long.

She whips around, marching back over to him and getting right in his face. The intensity of the movement startles him, causing him to fumble back against the wall before he manages to regain his composure and match her glare. Maya claps back at him for his terrible attitude, lamenting how horrible of a friend he is. Her words are sharp, but not necessarily untrue.

> **Maya:**  Yeah, maybe I don’t have any money. Maybe I can’t afford to come to this school or dress the part without a little bit of help. And if people knew, maybe that’s all they’d see. But at least I have respect. At least I’m not so consumed with inferiority that I have to turn on people the moment they prove themselves an actual talent. At least I have _friends_.
> 
> _[ Farkle clearly doesn’t know what to say. He swallows, jutting out his chin. ]_
> 
> **Maya:**   _[ looking him over ]_  Well, one less friend, now. But that’s nothing.

Farkle absorbs the blow, hanging back as Maya storms off. She wipes a couple of tears from her eyes as she pushes through the doors in a huff, but he doesn’t see them.

He waits until she’s long gone to deflate, falling back against the wall before sliding down and crumbling into a crouch. He tucks his head against his knees, like he’s trying to disappear.

As the contrastingly upbeat tones of Zay’s rehearsal track fade in…

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “The Greatest” as performed by Sia || Instrumental**

Thursday. One day left before the auditions.

Zay and Charlie are rehearsing his number together, the latter having picked it up surprisingly fast. They both perform the choreography with equal vigor, side-by-side on the stage and helping one another keep the pace. It’s a lot of fun to watch them dance it, each of them bringing their own little touches to the moves but also maintaining perfect sync – but it’s somewhat telling that Charlie seems to be outshining Zay. He’s loose, uninhibited, whereas Zay is stiff. Too in his head. Truly a role reversal.

Nearing the end of the routine, Zay steals a glance at Charlie to see how he’s faring. This throws off his precarious hold on the choreography entirely, causing him to stumble and trip right into Charlie. The two of them collapse in a heap with a resounding cuss from Zay and a yelp from Charlie, landing on the stage with a pointed thud.

* * *

Charlie slams onto his back and Zay fumbles on top of him, immediately apologizing and trying to check them both for serious injury.

> **Zay:**  Man, I’m so sorry. I know you’d offered to help, but I don’t think that involved breaking your limbs. Are you okay?

It’s hard to say. Charlie seems just about brain dead, mouth parted open as he tries to catch his breath and staring at Zay hovering over him. For a tense moment, it seems as though he might say something… perhaps might do something…

> **Charlie:**   _[ clearing his throat ]_ Yeah. Yeah, I’m good.

They disentangle themselves, Charlie wincing as he pushes himself into a sitting position. Zay blithely points out that that impromptu ending is exactly how his prospects feel at the moment, like they’re going to crash and burn any second.

Charlie watches him for a long moment, then explains that he still thinks Zay’s form is too strict. Ironic, considering he’s never had an issue with that before. He tries to figure out why Zay is putting so much stake into this whole thing – he’s never seemed too bugged by auditions in the past – but Zay redirects and asks why Charlie didn’t bother to audition. He knows he’s going through some stuff right now, but so is he. So is everyone. Charlie shrugs it off.

> **Charlie:**  It’s not a big deal. I’m just a supporting player, you know.
> 
> **Zay:**  No, you’re not. How many times do I have to tell you that you’re just as talented as the rest of us? Especially given that you just danced my own routine better than I did.
> 
> _[ Charlie huffs out a laugh, dipping his head down and looking at the floor. ]_
> 
> **Zay:**  You’re some of the best we’ve got… when you let yourself be seen.

Charlie locks eyes with him, letting the sentiment sink in. Then he shrugs again, pointing out that he has a major family obligation the same evening as the district-wide ones anyway. It didn’t seem worth the stress. Zay is a bit put off by this reveal, as he sort of hoped that Charlie was going to be there to see him audition.

It’s evident Charlie didn’t even realize that was something Zay would want. He starts to try and come up with a solution but Zay waves him off, assuring him that it’s no big deal. And good thing, because Charlie doesn’t have any simple fixes to his scheduling dilemma. Unfortunate.

**INT. AAA - TEACHER’S LOUNGE - DAY**

Angela is with Shawn in the teacher’s lounge, lamenting how she doesn’t know how the hell she is going to tell the students that she’s leaving. Shawn points out that she’s only got two class periods left considering she won’t be here for the last three days next week, so she better figure it out lest she leave them scarred upon their last week of sophomore year.

Teasing aside, Shawn basically dishes out the same advice she is constantly giving all of their students. That if this is truly important to her, then she should just talk from the heart and the message will come through. Or you know, whatever.

It sounds like he’s got the right idea. Angela nods, smiling lightly and leaning forward to give him a light kiss.

**INT. AAA - AUDITORIUM - DAY**

All of the students are assembled for class, discussing the end of the year. Maya asks Zay how he’s doing in preparing for his audition, which he does not want to talk about. Charlie speaks up and claims that Zay is going to do great, which Farkle – seated by himself a couple rows away and isolated – states must be true, because it would be super difficult to do worse than Maya.

Before she can fire back, Riley begs all of them to stop the stupid bickering. The techies nod in agreement, Lucas piping up from next to Riley.

> **Lucas:**  It was so nice when you all were tolerable for like two months there.
> 
> **Maya:** Oh, as opposed to you who has been tolerable… never?

Angela interrupts the cat fights as she kicks up class, stating that she needs to share a major announcement with them. All of the students, particularly the performers, perk up and give her their undivided attention.

It’s hard to speak with all of them looking up at her so trustingly. She glances to Shawn in the row behind the techies, who gives her an encouraging nod. She takes a deep breath, going on to explain that she’s been offered a role in an off-Broadway production. She allows a pause for them to break into excited chatter, applauding and congratulating her enthusiastically.

Then she takes the reins again, voice a little shakier as she continues with the fact that she will be stepping down from her position as performance coach at AAA and thusly, as their instructor. She intends to stay on faculty part-time, so it’s not a total goodbye, but there will be a new teacher coming into the role next fall.

All of the students are surprised. The performers are stunned speechless, especially the divas. Farkle looks absolutely shattered, jaw hanging open and expression blank.

Angela pauses, gathering her composure before getting out one last sentiment. It may be the most important speech she thinks she’ll ever make.

> **Angela:**  When I first started at this school, I felt it beneath me. It felt like something to do to pass the time, an unwelcome detour on my personal trip to the top. I thought that there was nothing for me to gain out of this place other than a paycheck and a way to get my parents off my back. I have never been happier to be wrong.  _[ a beat ]_  There are things I’ve learned here and experienced here that I would never find anywhere else. About passion, showmanship, collaboration, compromise. The joy of seeing all of you so brimming with talent and ready to share it with one another, with the world, that it reminded me how to find my own again. So even though this isn’t goodbye, I want it to be clear that you will always be one of my most important stops.

Lastly, she wants to give back to them one of the many countless moving, brilliant, impassioned performances they’ve given her over the past couple years. Without further ado…

* * *

**Song Cue ♫ ♪ “What I Did For Love” as performed by A Chorus Line Original Broadway Cast || Performed by Angela Moore (feat. AAA Sophomores)**

Angela starts the classic Broadway tune off softly, still emotional and not sure she’ll be able to make it through without losing her resolve. But as she looks out at the faces of her students – proud, sentimental, in shock – she manages the power to keep going.

As it progresses, the students begin getting up from the seats and jogging to join their teacher on the stage. Even the techies make their way up to join the group, hanging back to allow the performers to have their moment but paying their respects to Angela all the same.

Angela shares a small moment with each of the performing students, giving them hugs and hand shakes and soft smiles. She gives Charlie a hug and then ruffles his hair. Zay is given a warm hug, and Maya gives her a little cheeky bow once they pull apart.

Farkle is the last to receive his goodbye, choked up as he accepts her embrace. When he hugs her back, it’s clear that he’s holding on for dear life. He lingers longer than anyone else, not wanting to let go.

As the number draws to a close, Angela hangs in the moment harmonizing with her beloved students. They stand in a close circle with the techies hanging back and watching respectfully. The camera eases out and disappears into the dark of the wings, leaving them in peace…

* * *

**INT. FOSTER HOME - ISADORA’S ROOM - NIGHT**

Isadora is attempting to practice for the audition tomorrow, but she can hardly hear herself think let alone rehearse. CATHERINA GONZALEZ is pacing and chatting loudly on her phone with a friend, and the younger siblings are causing chaos just outside the door.

The situation is unbearable. Desperate for a change of scenery, Isadora heads into the hall.

**INT. FOSTER HOME - ENTRYWAY - NIGHT**

Isadora is already gearing up to head out, phone pressed to her ear. She’s impatient as she heads down the stairs, letting out a curse under her breath.

> **Isadora:**  Come on, pick up –

She frowns, pulling her phone back into her hand. It’s clear that she’s trying to call Riley, but the line is coming back as busy.

**INT. RILEY’S BEDROOM - NIGHT**

That’s because Riley is already on the phone. She’s pacing her room, unable to stay still as she converses with Lucas on the other end of the line. She’s giving him all of the last minute details for tomorrow evening.

**INT/EXT. LUCAS’S BEDROOM / LUCAS’S FIRE ESCAPE - NIGHT**

Lucas is cooped up on his fire escape, listening intently to everything Riley says. She asks if he’s sure he wants to come along, and he assures her that he’s not going to bail on her now. She checks to see if there’s anything else they need to work out, or if there’s anything she should know about before tomorrow.

There’s a beat of hesitation, where it is clear Lucas is thinking about Isadora. But he opts not to get into it, stating he’s all good and that he’s looking forward to it. Riley returns the sentiment, both of them bashful as they hang up.

**INT. FOSTER HOME - ENTRYWAY - NIGHT**

Left hanging, Isadora is forced to go to her next best option. There’s a moment of uncertainty as she scrolls through contacts, hovering over one name in particular. This person has been helpful and harmful in the past, but at present it feels like the only chance she has…

She hits dial, raising her phone to her ear once again.

**INT. MAYA’S APARTMENT - NIGHT**

Maya escorts Isadora into her cramped apartment, not bothering to be shy about it considering Isadora is already aware of her scholarship status. Maya makes a point of introducing Isadora to Katy, who is hunched over the sewing machine and doing the finishing touches on Maya’s audition dress. Isadora explains that they’ve met before through the diner, but Katy happily greets her anyway and claims it’s nice to see her again.

Katy informs Maya that she thinks she’s just about done, lifting the gown so that she can see. Maya is elated and incredibly grateful, running up to marvel over it and holding up against herself. She gives her mother a kiss on the cheek and showers her in thank yous, Isadora watching the warm exchange with mild interest. Such familiarity between mother and daughter is obviously new to her.

Then Maya pulls Isadora further into the space, gearing up to get some practice in as promised. Maya is already monologuing about how they can perform for one another and give each other notes, but it is evident that Isadora is simply happy to have any assistance at all.

**INT. MINKUS HOME - NIGHT**

Family dinner is on again at the Minkus house, this one even more lively as EZEKIEL MINKUS (20) has returned home from his first year of college for the summer. Undoubtedly the golden child of the Minkus clan, Ezekiel exudes easygoing confidence and soft temperament that not many of the other Minki possess. He mellows the room just with his presence, and it is no wonder that he is Farkle’s favorite sibling.

He holds court as dinner progresses, detailing all of the adventures of his freshman year to his captive audience. JENNIFER MINKUS listens appreciatively and EZRA MINKUS reacts accordingly in between stabbing at his peas, but none of them are as enraptured by the seemingly charmed promises of friendship, fun, and belonging of university life as Farkle. He’s giving Ezekiel his rapt attention, his food long forgotten on his plate.

LILA MINKUS looks less impressed by her older brother’s bragging. She stabs at her food and keeps her head down, URI MINKUS similarly not paying much attention and waiting for the chance to ask to be excused. In fact, he does so, but Jennifer shoots him down and berates him for trying to rush off so quickly when even more of their family is present than usual. He’ll be able to retreat to his bedroom and block them all out again soon enough, so he can wait a few minutes longer.

Jennifer asks Farkle if he’s looking forward to his last week of classes. He shrugs, claiming that nothing exciting is going on and that his favorite teacher just announced that she’s leaving. The family empathizes, particularly Ezekiel. He recommends that Farkle make the effort to make sure that teacher knows how much she impacted him as her student.

> **Ezekiel:** Considering your admiration is bold enough to state she’s your favorite, I think you’ll want her to know. People only know how much they mean to you if you let them know, as connections are only as meaningful as the effort you put into them. Coming off my first year away, I feel like I know that better than anything.

Lila subtly rolls her eyes at the usual golden brother antics, but Farkle actually seems to be listening. He chews on the notion as the conversation shifts off of him and back to Ezekiel.

**INT. AAA - HALLWAY - DAY**

Friday morning has finally arrived. As if to commemorate the excitement,  _AAA Confessions_  reboots itself with its first post in days. Farkle gets a wave of panic when he sees the notification that they have posted on his phone, immediately going to the app to check it.

It’s nothing major – in fact, it’s hardly a post at all. There’s a blank photo, the caption seemingly celebrating how close they are to the end of the year. _“Fear not, AAA starlets. The grand finale is nearly upon us.”_

Farkle heaves a sigh of relief. He’s growing to dread the moment that his earlier submission might see the light of day. So long as the page isn’t discussing him or his friends, he figures he’s in the clear.

He shuts his locker, scurrying off to class.

**INT. AAA - AUDITORIUM - DAY**

Zay is painstakingly running through his routine one more time, Charlie watching intently. He claps out the beats for him, pacing. When he sticks his landing, at least without falling this time, Charlie transitions his timekeeping into actual applause. He tells him that he’s doing a great job and it came together – it is him, after all. Would be hard for it not to be great.

Zay does not seem convinced. He’s still alight with anxious energy, but he takes the compliment anyway. Not like he has much time left anyway. Charlie lets his gaze linger on him for a few moments, then decides to speak.

> **Charlie:**  Can I be brutally honest?
> 
> **Zay:** You? If you think you can.
> 
> **Charlie:**   _[ laughing, then pausing ]_  … I think you’re relying too heavily on your dance ability.

There’s a long pause. Then Zay raises a finger at him, trying to silence him.

> **Zay:**  You shut your mouth.

Charlie hastens to explain his perspective, pointing out that Zay is a brilliant dancer. Certainly one of the best they’ve got. But he’s an awesome vocalist too, and this audition he’s crafted doesn’t speak to any of that. He’s putting himself in a box when he’s far too dynamic for that. He’s hiding behind his dancing, and if he really wants to make an impression for Kossal he should just forgo all of the pizazz and glitz and tricks and just  _perform_. Give them something from the soul, because Charlie  _knows_  he’s not short on that. Just stand there, sing, and show them how indisputably talented he is.

It’s a nice sentiment, and honestly holds quite a bit of truth. But with the audition looming so close and his nerves already shot, Zay is not in the headspace to hear it. He snaps at Charlie instead, telling him that he’s wrong and he thinks he should just leave him alone. He wants to get another practice in before class.

Reluctantly, Charlie obliges. He wishes him luck that evening, assuring him that he’ll give it his best before disappearing into the wings. Zay waits until he’s gone then exhales a sigh, kicking at his duffle bag and rubbing his face. As the bell rings –

**INT. AAA - BLACK BOX THEATER - DAY**

Angela is in her classroom as the week comes to an end, finishing up boxing up her things. She stands for a moment in the nearly empty classroom, wondering how much it will change next year in her absence. Soaking up the memory of it before she bids it farewell.

Farkle comes by, knocking lightly on the door and asking if she has a second. She welcomes him in happily, stating that she figured he would come around at some point. But she warns him playfully that he’s not going to be able to change her mind on this, so there’s no point in kicking off one of his infamous arguments.

He raises his hands in surrender, pointing out that what she’s about to do sounds like the dream. He would never try to convince her otherwise. He saunters further into the room, stuffing his hands in his pockets and nudging her into conversation about how she’s feeling about the change. It must feel crazy, having made it after struggling so long for her shot.

Angela pauses, thinking about it. She comes around from behind her desk, speaking plainly with him and being completely candid. She explains that it feels more meaningful now than it would’ve back then, she thinks.

> **Farkle:**  Why?
> 
> **Angela:**  Believe it or not, the goal itself isn’t everything. There’s such a difference in accomplishing something you’ve worked so hard for and then being able to turn to someone you love and share in that moment with them. Now that I have people in my corner and didn’t just drop them in pursuit of it all, the strides I’m making feel so much more… real. You know? In some ways, I have to wonder if my approach to it the first time was what ended up fucking me over.
> 
> _[ Farkle takes this in. Angela gives him a smile, lightly touching his shoulder. ]_
> 
> **Angela:** The dream is all-consuming. It’s true… but there has to be room for other things, too. There has to be, otherwise it’s just… empty.

This strikes Farkle in a way he wasn’t expecting. She squeezes his shoulder before getting to her feet, focusing back on packing her things.

**EXT. NEW YORK - NIGHT**

Night falls over the city as the most important evening of sophomore year looms closer. As the night comes to life, the auditionees prepare for their debut.

**INT. BABINEAUX HOME - NIGHT**

Zay descends from the second floor of his house, dressed comfortably but fashionably and ready to make an impression. DONNA BABINEAUX, OMAR BABINEAUX, and JADA BABINEAUX all applaud him as he comes down the stairs, a bit sarcastic but also genuinely proud.

Jada begins nitpicking his outfit as Omar grabs the car keys. Donna gives her son a kiss on the cheek before ushering him out the door, wishing him luck.

**INT. MAYA’S APARTMENT - NIGHT**

Maya does the finishing touches on her makeup in the mirror on the wall, looking like a total knockout in her long black dress. Her mother completes the look by handing her a faux fur coat, classic yet statement-making at the same time. After she dons it she gives Katy a tight hug, accepting a kiss on the top of the head before she breezes out the door.

**INT. FOSTER HOME - ENTRYWAY - NIGHT**

BLUE NGUYEN is waiting around in the entryway, tossing his keys impatiently. He raises his eyebrows as Isadora descends the stairs with BEATRIX TORRES and Tessa, the two of them having helped her piece together an ensemble and look for the event. Rather than a gown or glamour approach like her fellow auditionees, Isadora is sporting a look that feels more true to who she is, just with the volume turned up – plaid statement pants, a cropped dark top, and of course the classic combat boots. She looks bold, potentially a star in the making – if she can manage to come out of her shell.

As she’s heading out the door, she crafts a text to Lucas to see if he’s on his way or not.

**INT. LUCAS’S BEDROOM - NIGHT**

The message goes unread, Lucas far too distracted in nitpicking his own appearance. He’s trying his best to feel comfortable in the borrowed suit jacket, unable to decide between tucking in his shirt or leaving it be and resisting the urge to mess up his combed hair. He looks more put together than he has… probably in his entire life. Scrutinizing his reflection in the glass of his balcony window rather than a mirror probably isn’t helping.

He’s pulled out of his self-deprecation when he sees Jack’s car pull up by the curb below. Lucas grabs his phone and gala ticket, stuffing them into his pocket and darting out the door.

**EXT. AUDITION HALL - NIGHT**

The three auditionees pull up around the same time, Maya emerging from her cab as the other two hop out of their family vehicles. They all size one another up, exchanging cordial head nods and lingering in the peace for a moment as their drivers pull away.

Then it’s a mad dash for the building, all three racing up the steps in a break-neck battle to decide the order of who will be performing when.

**INT. AUDITION HALL - ENTRANCE - NIGHT**

Maya’s heels click against the floor as they race through the lobby, capturing the same energy as Maya, Farkle, and Zay scrapping to take center stage back on the first day of classes.

Zay makes it to the check-in table first considering he’s not in a dress or heels. He slides up to the sign-in depot and introduces himself breathlessly, triumphant as the check-in person gives him his choice of AAA slots. He opts for the final of the three, tossing a grin to Maya and Isadora as they sidle up behind him. He gestures for them to step up, bowing cheekily before leisurely making his way to the dressing room.

> **Zay:**  All yours, ladies.

Maya makes a face at him, before exchanging a look with Isadora. She defers to her, allowing her to choose next seeing as it doesn’t matter much now. Isadora takes the middle slot, giving Maya first string. The check-in person jots this down, giving them general directions to the dressing rooms and theater.

> **Isadora:**   _[ after Maya marches off ]_ Sorry about… all that.
> 
> **Check-In:**  It’s okay, you’re all like this. We’re used to it.

**INT. ERIC’S APARTMENT BUILDING - NIGHT**

* * *

**Song Cue ♫ ♪ “Ratatouille Main Theme” as performed by Michael Giacchino || Instrumental**

Eric eagerly lets in Jack and Lucas as they arrive, explaining that Riley is still upstairs in his apartment but should be down any minute and then they’ll be good to go. Eric cheerfully tells Lucas that it’s nice to see him joining them, and he’s like… yeah, okay.

Lucas zones out as Jack and Eric begin discussing the technicalities of the evening and sharing administrator gossip, only getting pulled back into the present when Jack makes an out of place exclamation. He gives him a funny look, following his gaze to try and figure out what prompted the declaration of surprise.

The moment Lucas looks over his shoulder and sees Riley descending the stairs, it’s as if the whole world stops. He stops breathing. She looks like certified royalty, with her flowy lavender dress and hair pulled back so intricately and her sheer shoulder wrap. She locks eyes with him and immediately smiles, holding his gaze the entire way down.

When she makes it to the main floor and joins them, she gives the group of them a bashful smile. Lucas can’t even look at her, staring at the floor and swallowing.

> **Riley:**  I hope I didn’t keep you all waiting too long.
> 
> **Jack:**  Oh, please, it’s nothing. Believe me, your uncle has taken longer.
> 
> **Eric:** Oh, hardy har har. You’re hilarious.

As Jack and Eric settle into bickering, Riley turns her attention to Lucas. She lightly touches his arm, waiting for him to meet her eyes.

> **Riley, softly:** You look good.
> 
> **Lucas, stammering:**  Pfft, I mean, me?  _[ scoffing ]_ Okay…

In whatever unintelligible language Lucas speaks, this is likely a compliment of some kind. Luckily, Riley is learning to be fluent in that dialect, so she accepts the sentiment with a smile.

* * *

Eric rallies the troops.

> **Eric:**  We best get going or we’re going to be late, and Haverford is going to have something to say about it.
> 
> **Jack:** Always do when it comes to us.
> 
> **Eric:**  Precisely. Let’s go, then, team! Roll out!

**INT. CHARLIE’S CHURCH - NIGHT**

The church springfest dinner is in full swing, lots of families in their Sunday best on a Friday night and mingling together. ELEANOR GARDNER is clearly having the time of her life, humoring her colleagues and fielding compliments from all the planning she did for the event.

Charlie is hanging out by one of the food tables with ROSAMUND GARDNER, watching her gorge on carrot sticks as she complains about how bored she is. He assures they all have places they’d rather be, but it’s important to mom that they’re there. She rolls her eyes, stuffing another carrot into her mouth and crunching it pointedly.

As Rosamund gets dragged away by friends, Charlie receives a text message. It’s from Zay, letting him know that he secured the closing slot. Despite his confident demeanor earlier, however, his next couple of messages convey that he’s still fretting over the performance and might be spiraling a little bit.

Charlie drops the celery stick he was chewing on and focuses on a text back, reminding Zay not to panic and to lean into what he’s good at. Do what he’s always telling him, feel it and not overthink. He hits send just as AMBROSE GARDNER saunters over, curiously asking who he’s texting.

> **Ambrose:** Must be serious business. You’ve got quite the look of concentration on.
> 
> **Charlie:**  Oh, it’s just uh… Riley. My friend. You remember her, from the winter showcase?
> 
> **Ambrose:** Oh, sure.
> 
> **Charlie:** Yeah. Yeah, she just needed homework help. Last minute.
> 
> **Ambrose:**  With two and half days of school left?
> 
> **Charlie:** … well, yeah. That’s why it’s serious business.

Ambrose doesn’t question it, helping himself to a snack from the vegetable tray. Tentatively, Charlie broaches the query of whether it would be at all possible for him to leave a bit early. Like, just a tiny bit. His dad is intrigued and not immediately opposed, so Charlie goes on to explain that there’s this major performance thing going on for his friends at AAA, and he’d really like to be there if he could.

Ambrose contemplates this, taking his time as he chews his celery. Charlie is holding his breath.

> **Ambrose:**  Suppose we can see how this function is unfolding by then. What time are you thinking?

Charlie nods, relieved that it’s not a definitive no. This holds promise.

**INT. JACOBS ARTS GALA - LOBBY - NIGHT**

The Jacobs Arts Gala is in full swing, and it is certainly a fancy shindig. It was bound to be, because theater nerds love to dress up and pretend they’re important and glamorous. Students and administrators from all over the tri-state area weave their way through the crowds in their best formal wear, heading towards the ballroom where the main ceremonies are unfolding.

Lucas is standing in the midst of this crowd, sticking out like a sore thumb simply because of how overwhelmed he looks. He stares up at the glitz and awe of the fancy setting and even fancier guests, shaking his head lightly.

> **Lucas, under his breath:**  Lucas Friar, what have you gotten yourself into…

**INT. JACOBS ARTS GALA - BALLROOM - NIGHT**

On the small stage at the front, a swing band keeps the evening going with music as students from the different schools step up and perform selections. Currently on stage is BRANDON RIVAS (16), a sharp-featured and suave sophomore from AAA’s rival, Haverford Prep. He snaps as the band counts him in…

* * *

**Song Cue ♫ ♪ “Fly Me To The Moon (In Other Words)” as performed by Frank Sinatra || Performed by Brandon Rivas (of Haverford Prep)**

Brandon’s silky smooth vocals take on the Sinatra classic as it floats over the assembled crowd.

Riley is running through the paces of playing student representative, introducing herself to all the important figures. This includes none other than MICHAEL JACOBS, who saunters up to greet her cheerfully. Not struck with nearly the same mythic knowledge of him as her classmates, Riley is able to maintain her cool as she shakes hands with him. She assures him that she’s heard only good things about him, which he seems tickled by.

When he informs her that he’s looking forward to hearing her performance this evening, it’s evident that she has no idea what he’s talking about. Eric slides up and interrupts, laughing and thanking Mr. Jacobs before excusing both them and pulling Riley to the side.

Eric tells her not to panic, but what he neglected to mention to her is that typically, each student representative is slated to perform a song during the ceremonies (i.e. like Brandon). Riley freaks.

> **Riley:** What? I’m sorry, I’m supposed to do what?
> 
> **Eric:**  I knew if I told you ahead of time, you’d freak out and potentially not accept the invitation.
> 
> **Riley:**  UH-HUH?
> 
> **Eric:** Listen, listen to me, niche. You will be fine. You’ll be fine! You’re best when you’re working on your feet anyway. Just go with your gut. _[ off her stunned expression ]_  Now… go! Enjoy the party! Ha ha.

Riley scoffs, stomping off and muttering to herself as she disappears into the crowd. Eric cringes to himself, watching her go as Jack approaches from behind carrying two flutes of champagne.

> **Jack:**  Looks like that went well.

He hands Eric one of the flutes, proposing a toast to the two of them. Sure, it’s been a hell of a year, but they survived it. Didn’t they? The school came together, their biggest adversary seems to have gone into hibernation for good… not too shabby for an analytical principal and his overly involved head counselor.

Eric will definitely drink to that. They raise their glasses, knocking them together with a clink.

Riley has managed to find Lucas, the two of them surveying the dessert table out on display. It’s an assortment of pretty typical yet gourmet desserts, even more intimidating just from how fancifully they’re designed. Riley gestures for Lucas to take one and he shakes his head, keeping his hands clasped together in front of him.

> **Lucas:**  No. Mm mm. Don’t trust that.
> 
> **Riley:**  What? Why?
> 
> **Lucas:**  Doesn’t look like real food.
> 
> **Riley:** _[ with a laugh ]_  What, just because it’s not the staling Oreos in the bottom of your stash in the booth, it’s not real food?

Lucas still refuses, and Riley rolls her eyes. She claims he’s being silly – how is he supposed to know if he doesn’t like something if he won’t give it a chance? He claims he has all the expertise necessary to know not to trust something, but she ignores his rebuttal. Instead, she chooses one of the little pastries and holds it up for him. Patiently waiting, as if she’s going to feed it to him.

He stares at it, then her.

> **Lucas:**  I have two hands.
> 
> **Riley:**  Well, you’re not using them, are you?

She holds it up indicatively again, raising her eyebrows. Lucas eyes her suspiciously, slowly leaning forward and allowing her to pop it into his mouth.

As it turns out, the pastry isn’t so bad. Lucas chews it thoughtfully while Riley watches in amusement, waiting for the victory of being right in this scenario. She’s startled when a woman taps her on the shoulder, coming over to introduce herself and catching Riley by surprise.

She introduces herself as EVELYN RAND (50s), prominent school board member and Jacobs patron, overseeing the district from Haverford to AAA. She’s heard many good things about Riley, and so she’s been eager to get to meet her. Riley seems genuinely flattered by the notion, the two of them exchanging further niceties.

Evelyn catches sight of Lucas still loitering behind them, calling out to him and gesturing for him to join them. He sheepishly saunters up next to Riley, shaking the hand Evelyn offers him.

> **Evelyn:**  Are you a representative as well?
> 
> **Lucas:**  Oh, no, I’m uh – I’m just the plus one.
> 
> **Riley:** He might as well be. Lucas is our best student technician at Adams. He can do anything.
> 
> **Evelyn:**  Is that so? Yet here you are, Miss Student Representative.
> 
> **Lucas:**  Well, she’s the best we have to offer.

Riley locks eyes with him, a soft moment passing between them. Evelyn watches interestedly, raising her eyebrows. Then Lucas backs off, clearing his throat and claiming it was nice to meet Evelyn before sidling back over to the dessert table.

Evelyn watches him go with a twinkle in her eyes, turning her smile back to Riley as she claims she better keep making the rounds. But she emphasizes how nice it was to meet her, and that she cannot wait to see what all of them at AAA accomplish in the next few years. Before she goes, she leans forward to whisper conspiratorially.

> **Evelyn:** _[ re: Lucas, approvingly ]_  He’s cute.

Evelyn gives her a wink, patting her arm and then fluttering back into the crowd. Riley takes a second to catch up to her commentary, a bit caught off-guard but suddenly thinking on the matter. She turns around to look at Lucas again… who is in the process of stuffing another pastry into his mouth. Considering his former indignation, it’s damn charming.

Lucas pauses when he catches her looking, caught. He rolls his eyes, giving her a subtle thumbs up to give her the victory and acknowledge that she was right. Riley can’t help but laugh, and she  _definitely_  can’t help but agree with Evelyn’s assessment.

Brandon wraps up his Sinatra impression with a flourish, the orchestra bringing it on home.

* * *

**INT. AUDITION HALL - THEATER - NIGHT**

Isadora is pacing in the wings, about to go on for her audition. She’s pushing it until the last possible second, checking her phone obsessively for a text from Lucas. No such luck.

Maya comes up behind her, informing her that she really needs to go on at this point. Isadora doesn’t look at her, but she ventures the question they both know she’s wondering.

> **Isadora:**  Is he here?
> 
> **Maya, hesitantly:** … not that I could see. No.

Isadora steels her gaze, growing more closed off as she stuffs her phone into the pocket of her dress. Maya tries to comfort her, but she brushes her off. She marches onto the stage before she can talk herself out of it.

She squints as she steps into the spotlight, searching for the judges but unable to see anything through the brightness of the lights. In some ways, she supposes that’s better. Easier to pretend that her best friend didn’t neglect to show up on the one night she needs him most if she can’t see the evidence of it.

Once prompted, Isadora introduces herself boldly. Then, she starts to sing.

* * *

**Song Cue ♫ ♪ “Here - 2 A.M. Version” as performed by Alessia Cara || Performed by Isadora Smackle**

As the mellow chords float in, Isadora lets her emotions pour out through the lyrics. The spotlight is on her on the dark stage, no theatrics, just her standing with a microphone. That’s all she needs. She’s bitter, frustrated, overwhelmed, and so over this whole night.

But that makes the performance all the more endearing. Whilst wrapped up in how she’s feeling, Isadora seems to forget that she’s performing in front of a judging panel and audience, and this is the best we’ve ever heard her sing. Her voice is  _powerful_ , and it fills the theater as everyone watches in silence.

As the song goes on, Isadora remembers flashes of the past year when she’s felt isolated: trying to rehearse with the performers for  _Les Mis_  but not fitting in, seeing Riley and Lucas dancing together and walking away, being in a room full of her siblings being loud and playing games where she’s sitting in silence with a blank look on her face.

Her voice gets louder and more powerful, and she finishes the song with tears of anger spilling from her eyes. She’s done hiding who she is, trying to mold herself to how people expect her to be. She’s not a techie, she’s not a performer – she’s Isadora  _freakin_ ’ De La Cruz, and she’ll do whatever the hell she wants.

* * *

And right now she wants to get out of this theatre. She storms off stage, shoves the microphone to one of the stagehands, and heads out. Zay and Maya go to congratulate her on her performance, but she ignores them. She’s figuring out who she is in a world where she can’t depend on Lucas anymore, the one person she thought would always be there for her.

**INT. MINKUS HOME - NIGHT**

Despite everyone else’s busy Friday evening, Farkle is wasting away an anticlimactic evening at home. He’s in the living area helping Ezra with homework, but he’s hardly much help. His mind is elsewhere, zoning out of the conversation. He’s also fidgety, restless, and can’t much focus on anything at all.

Ezra complains about all of these facts, indignantly claiming that Farkle isn’t acting like himself. Jennifer calls him back to get ready for bed, freeing Farkle from any further accusations.

Ezekiel is reading a book on the far end of the couch, but he observed the exchange pointedly enough. He stretches his foot out and pokes at Farkle’s arm, getting his attention as he grimaces and swats his socked foot away from him. Ezekiel asks him if he’s okay, which he shrugs off, but he does utilize the opportunity to engage in conversation.

Farkle asks him to elaborate on what he meant about what he said at dinner the other night. About connections, and all that nonsense. Once he’s able to sort of figure out what exactly Farkle is requesting to hear, Ezekiel states that he doesn’t think any of it is all that deep but basically he simply meant that for things in life to hold meaning, you have to put time and effort into them. You need to be present for your claims of importance to hold any water.

Ezekiel goes on further, explaining that with his transition to college and everything, he had an epiphany of sorts about how positivity is so crucial. All of the negativity around them, the constant conflict and pushing people around is just white noise.

> **Ezekiel:**  That’s how dad rose up in his business, after all. He always operates as a friend, a partner, a supporter rather than a detractor. He’s an ally, and that’s an attractive trait. Makes him win in the end. That’s why he’s so good at what he does, at least from my perspective.

Farkle questions whether that principle just applies to the business world. Ezekiel shrugs, stating he’s fairly certain it applies to everything. Doesn’t matter who you are.

More than anything though, he just meant that it’s important to spend time with the people you care about while you have them so that they  _know_  how much you mean to them. Ever since he left for college he’s been thinking about that a lot – especially in regards to his family.

Farkle absorbs this, managing a smile when Ezekiel reaches forward to pat him on the back. He clearly has a lot to think about the later the night stretches on.

**INT. JACOBS ARTS GALA - BALLROOM - NIGHT**

Riley is gearing up for her performance, obviously nervous. She wrings her hands as she expresses her task to Lucas, who listens calmly as she rambles on about it. Once she takes a second to breathe, he has the opportunity to speak. Lucas doesn’t have much advice in the realm of performing, naturally, but he claims that she’ll be fine because she always is. He can’t think of a time when she wasn’t good.

> **Riley:** Oh, yeah? Really? You literally told me I wasn’t that impressive during the first week of classes.
> 
> **Lucas:**  No, I didn’t –
> 
> **Riley:**  Are you kidding me? You said I was an “unassuming chorus member” –
> 
> **Lucas:**  I  _meant_  that you were holding back. Which you were. That didn’t mean you weren’t good. You were always good.

That’s a lot of perspective altering to throw at her all at once when she’s already overwhelmed. Lucas shifts focus back to the task at hand, essentially giving her the same guidance that Shawn gave Angela – that she should just sing from the heart or whatever it is that they’re saying all the time. Riley absorbs this just as Eric comes to grab her, telling her that she has to get ready to take the stage.

**INT. AUDITION HALL - DRESSING ROOM - NIGHT**

Zay is in full panic mode, totally freaking out about his performance. He’s forgetting steps, overthinking it just like Charlie warned him not to. He can’t believe he’s about to blow everything on the one chance he’s given to really show what he can do.

Suddenly, he’s struck with inspiration. He looks through his phone, scrolling and scrolling until he finds a new suitable avenue. He nods to himself, trusting himself to take a different approach.

Then he grabs his choreography sheet off the counter, giving it one last look before tearing it up.

**INT. JACOBS ARTS GALA - BALLROOM - NIGHT**

A rosy hue glows throughout the ballroom as Riley steps up to the stage, conferring quietly with the instrumentalists. It’s evident that she’s figured out her song, and when she steps up to the microphone and adjusts it as necessary she takes a moment to find her stage presence. She searches through the lights to find Eric in the crowd, standing with Jack and watching her proudly. Just a few paces to the right, she finds Lucas.

She’s got support. She’s not alone. Taking a deep breath, she nods to the violinist to kick off the performance.

* * *

**Song Cue ♫ ♪ “That Would Be Enough” as performed by Hamilton Original Broadway Cast || Performed by Riley Matthews**

Starting with the open violin and the first  _“Look around, look around,”_  Riley skips the duet portion of the Eliza solo and jumps to the core of the song about a minute in. It’s an excellent choice, both for her vocal range as well as the crowd considering it’s hip musical theater.

Even more pointed is how well it applies to her emotions at the moment, which is exactly why she picked it. The first verse she sings for herself ( _“Look at where we are, look at where we started…”_ ), marveling over how far she’s come in the past year and allowing herself the moment to soak it all up – the beautiful insanity of AAA, the rush of performing and being surrounded by artists who love it too, to be a thousand times stronger than she was before.

As she hits the next verse, however, her focus shifts. She finds Lucas in the crowd again, using him as her anchor as she ventures further into the performance. The lyrics ring particularly true here, too, as she sings directly to him ( _“I don’t pretend to know the challenges you’re facing / the worlds you keep erasing and creating in your mind…”_ ).

Jack leans over to Eric, whispering that she’s absolutely stunning. Eric, a little choked up, wholeheartedly agrees.

Considering the captivated expression on his face, it’s safe to say that Lucas agrees. He can’t take his eyes off of her, and with how intently she’s staying grounded to him it could very well be a performance shared only between the two of them ( _“If I could grant you peace of mind, if you could let me inside your heart…”_ ).

It’s a beautiful, delicate performance, and a perfect showing for AAA. The applause that she earns from the assembled appreciators of the arts is well, well earned.

* * *

**INT. CHARLIE’S CHURCH - NIGHT**

Charlie is still present like the darling son he is, but he’s growing impatient. He’s tapping his feet, checking the clock on his phone incessantly.

He makes eye contact with Ambrose from across the room, waiting for some kind of signal that he’s free to go. His father seems to think on it for a long, torturous moment… then he smiles, nodding him along. Charlie exhales, returning the beam and inconspicuously sneaking his way out of the gathering.

**EXT. CHARLIE’S CHURCH - NIGHT**

Charlie emerges into the brisk New York evening, only pausing for half a second before breaking into a sprint down the street.

**INT. AUDITION HALL - THEATER - NIGHT**

Zay emerges from the dressing room hall, sporting a different overall ensemble than he was before – much more of an eye-catcher with his Prince-esque floral suit jacket than the dance clothes he was wearing earlier. Maya and Isadora greet him and wish him luck, noting the change in his appearance. Maya questions how he’s feeling, and Isadora points out that he’s probably not going to be able to dance very well in that new attire.

> **Zay:** You’re right. Because I’m not dancing.

Maya and Isadora both drop their jaws, wondering what the hell he’s doing. Maya tries to stop him and ask him exactly that, but Zay is already marching onto the stage.

**EXT. NEW YORK STREETS - NIGHT**

Charlie is sprinting with everything he’s got, dashing through the nightlit avenues in his Sunday best. Running against the clock, just to get a few blocks away… closing the distance with every ticking second…

**INT. JACOBS ARTS GALA - BALLROOM - NIGHT**

Riley is fielding compliments and praise for her performance from gala guests, obviously unprepared for all the attention. Lucas meanders over to join her, somewhat saving her from further niceties with strangers. He shares a similar sentiment of congratulations, although his awe seems to run far deeper than that of the other patrons.

> **Lucas:** You were – I don’t know what you were worried about.
> 
> **Riley:**  Well, thank you. I think.
> 
> **Lucas:**  Always good. I don’t know how you do it.
> 
> **Riley:**  Hmm. I guess it’s just because I’m “too damn talented.”

It takes Lucas a second to get the reference, then he exhales a sheepish laugh. They hold each other’s gaze for a long moment until Lucas clears his throat, asking her if she wants to dance.

> **Riley:** I’m sorry. Am I hearing that right? Lucas James Friar, willing to  _dance_?
> 
> **Lucas:** Well, I figure if I’m playing the role tonight, I may as well play it right.  _[ a beat ]_ And I’ve had a pretty good teacher.

He holds out his arm, waiting for her to take it if she so chooses. She does, shyly, as Zay’s introduction to the judges pre-laps.

* * *

**Song Cue ♫ ♪ “Ain’t No Way” as performed by Glee Cast || Performed by Zay Babineaux**

As the opening swell of the soulful ballad floats in, Riley and Lucas make their way towards the center of the ballroom.

**INT. AUDITION HALL - THEATER - NIGHT**

Zay delivers a killer rendition, doing exactly what Charlie said he would – blow everyone out of the water with his raw talent. All year long he’s been forcing his dancing expertise, it was easy to forget how powerful a vocalist he is as well. There’s a reason he earned a ranking as one of the sophomore divas, and after this, no one is ever going to forget it again.

**INT. JACOBS ARTS GALA - BALLROOM - NIGHT**

The performance also underscores Riley and Lucas at the gala, venturing their dance. They start off in proper waltz posture, just like she taught him… but as the song progresses, they loosen up. Adjust their stance, close some of the distance, shift more into a slow dance.

At some point, Riley leans forward and rest her head against his shoulder as they sway together. Lucas honestly looks dumbstruck, as though he can’t believe this is actually happening. Any of it. He’d pinch himself, if he wasn’t so preoccupied by her or ever  _wanted_  to wake up from it.

**EXT. AUDITION HALL - NIGHT**

Charlie continues his sprint, darting up the steps two at a time and pushing through the doors.

**INT. AUDITION HALL - THEATER - NIGHT**

By the time Charlie makes it into the auditorium he’s out of breath, but he’s just in time to catch the latter half of Zay’s performance. He stumbles forward against the handicap rail in the back of the section and takes it all in – Zay’s inarguable stage presence, his outstanding vocals, the fact that he took his advice and is giving nothing but soul.

Charlie is totally entranced. He isn’t catching his breath any time soon.

**INT. JACOBS ARTS GALA - BALLROOM - NIGHT**

By the final act of the performance as Zay is heading into the final chorus, Riley shifts out of their posture and leans back a bit to look at Lucas. They lock eyes, searching one another’s expressions… and leaning into their  **first kiss**.

It’s slow, uncertain, and over before either of them realize it. But it lingers, and their lips only break apart for a few moments before they initiate a second one. This one is a little bolder, a bit more certain, an active choice on both their ends rather than a tentative curiosity. Riley tightens her hold on his jacket to pull him closer, Lucas lifting a hand to cup her face.

**INT. AUDITION HALL - THEATER - NIGHT**

Zay finishes the number, totally bringing down the house. Charlie is starstruck. Maya and Isadora are in shock in the wings, able to see the writing on the wall. It’s more than clear who is going to the Kossal program that summer.

* * *

**INT. JACOBS ARTS GALA - BALLROOM - NIGHT**

Lucas and Riley pull back from one another, just enough to exchange hesitant eye contact. Then Riley breaks into a bashful giggle, easing the tension in an instant. She tilts her head against his, Lucas licking his lips and unable to hold back his smile.

**EXT. AUDITION HALL - NIGHT**

* * *

**Song Cue ♫ ♪ “The Louvre” as performed by Lorde || Instrumental**

Maya steps out into the night, inhaling the fresh air. She takes a deep breath, closing her eyes and taking a moment. She knows she’s not getting that summer program, not after Zay’s performance.

But she’s used to disappointment. It’s never stopped her before. Onto the next thing.

She exhales through her nose, opening her eyes. Then she descends down the steps, leaving the lost opportunity behind.

**INT. AUDITION HALL - DRESSING ROOM - NIGHT**

Zay is gathering his things, still shaky on adrenaline from a stellar performance. He hesitates, finally getting to exhale. He almost can’t believe all the stress and strain is done.

Charlie manages to find his way to him, appearing in the doorway. Zay glances up and spots him in the mirror, eyebrows shooting up as he whips around in surprise. He literally can’t believe he showed up.

> **Zay:**  Charlie. You’re here.
> 
> _[ Charlie smiles, nodding. He saunters further into the room, treading cautiously. Not because of Zay, but because he isn’t sure he trusts himself. ]_
> 
> **Charlie:**  After being so brutally honest, you thought I wouldn’t show up?
> 
> **Zay:**  No. No, I just thought – you said you had –

Zay shrugs. He doesn’t really know what he thought, and he supposes it doesn’t really matter. It’s nice to see him there. Really nice.

> **Zay:**  I took your advice. So.
> 
> **Charlie:** Yeah, I noticed. And dare I say, I think it worked as intended.
> 
> **Zay:** You think so?
> 
> **Charlie:** Dude, you were amazing. There’s no way they’re not going to pick you.

Zay waves him off, not nearly so sure. Not wanting to jinx it. Charlie has made his way well across the room now, joining him by the counters and much closer. Dangerously close.

> **Charlie:**  I’m serious. You should’ve heard yourself. You were mindblowing.
> 
> **Zay:**  Come on.
> 
> **Charlie:**  I mean it. I mean, you always are. Stunning. Breathtaking.

Charlie can’t look away from him. He’s mesmerized, and still somehow damningly out of breath. He feels like he’s never going to be able to breathe again. Zay lifts his gaze to meet his, searching his expression. Not believing he could be reading the situation correctly.

Charlie shrugs wordlessly. Then he licks his lips, letting out a ragged exhale.

> **Charlie, breathlessly:** Who needs oxygen?

Before Zay can question the statement, Charlie grabs the lapels of his suit jacket and  **pulls him into a kiss**. It’s fumbling, a bit of a disaster to start, the two of them bracing against the counter and Zay reaching out to hold him mostly to keep him from falling over.

But they figure it out pretty quickly from there. Charlie hesitates for one last second, taking another glance at him before going in for another one. Eagerly. Decisively. Making his choice.

It doesn’t take long for Zay to get on the same page once the initial shock wears off. He kisses him back, tugging him closer and reaching up to start undoing his Sunday best tie.

The auditions may be wrapped, but it’s clear the two of them aren’t going anywhere for a while.

**INT. JACK’S CAR - MOVING - NIGHT**

Jack and Eric chatter in the front, lightly discussing the gala and the performances from the evening. Completely oblivious to how everything has changed.

Riley and Lucas are quiet. They’re seated in the back, not looking at each other. They can’t. It’s too much to ask of them with so much shifting between them, and with their faculty right there in front of them.

Riley glances away from fiddling with her purse to steal a look at him. He’s keeping his eyes trained out the window, absentmindedly chewing on his thumbnail. So, so far from the intimidating first impression he made at the beginning of the year. She shifts her gaze to his hand instead, resting on his leg and fingers tapping anxiously against his knee.

Gently, she reaches forward and touches the sleeve of his jacket. Lucas freezes, his fingers hovering over his leg. He tosses a glance in her direction out of the corner of his eye, uncertain what she’s going to do and wholly certain that he can’t brave looking her in the eyes.

Her fingers brush the back of his hand, before she lets her hand come to rest on top of his. Venturing that simple touch, rubbing her thumb against his knuckles. Lucas stares at their hands, still frozen. Still unable to look at her.

Then, he flips his hand over and links their fingers together. It’s that easy.

They don’t look at each other. They don’t give anything away. But light smiles bloom onto both of their faces as they direct their gazes out the car windows and towards the city lights.

**INT. LUCAS’S APARTMENT - NIGHT**

Lucas enters the apartment as silently as possible, trying not to disturb whoever else might be around or asleep. Further inspection reveals a light on in the kitchen area, indicating that his efforts to go undetected might be futile. He frowns, stepping towards the room.

GRACE FRIAR is seated at the kitchen table, up late rifling through paperwork. When Lucas softly asks why she’s still up, she jumps slightly and lifts her head. It’s an immediate relief when she sees that it’s only him. She manages a smile, taking in his full attire.

> **Grace:** You look nice. Where did you get that suit jacket?
> 
> **Lucas:** _[ after a beat ]_ A friend.

Lucas avoids her gaze as she questions whether he had fun, busying himself by getting a glass of water. He pauses to actually consider the question, before confirming he did. He starts to make his retreat before he doubles back, posing a new discussion topic.

> **Lucas:** Do you still have the application for McCullough?  _[ off Grace’s nod, and a beat of contemplation ]_  Forget about it. I’ll be fine at Triple A.
> 
> **Grace, surprised:** Are you sure?

There’s another beat of hesitation. Then, Lucas’s expression softens.

> **Lucas:** Yeah. I am.

He bids his mother goodnight, disappearing from the kitchen doorway. Grace watches him go, a bit bemused. Sensing a major change of heart in her son, absolutely clueless as to where it came from. But it doesn’t seem like a bad thing. Not at all.

After a moment she smiles, returning to her work.

**EXT. MAYA’S APARTMENT - NIGHT**

Maya is seated on the steps in front of her building, the street glimmering with the lights of the city and early morning dew. Farkle appears around the corner, marching towards her with his hands in his pockets. It’s not clear how far he’s walked alone in the middle of the night.

He’s frantic, full of nervous energy. She doesn’t bother to acknowledge him as he approaches. He stops in front of the steps, waiting for an invitation. When he doesn’t get one, he plops down next to her anyway. He bounces his legs restlessly, a sharp contrast to her plaintive calm.

They’re silent for a long moment. Maya clears her throat, ready to tell him off.

> **Maya:** Are you lost, Farkle? It’s midnight and you live across town –
> 
> **Farkle:**  I don’t want to be alone.

The statement takes Maya by surprise. She frowns, turning her gaze to him. He keeps staring straight ahead, rubbing his palms on his knees. Still fidgeting. His speech is scattered, panicked.

> **Farkle:**  I don’t know why I’m like this. Why I get this way. I tell myself it’s just the ambition, the drive pushing me towards my destiny, but I don’t know. I don’t think your destiny is supposed to feel this suffocating. Claustrophobic.  _[ a beat ]_ It’s like, if you’re going to do anything in this world you’ve got to be the best. And if you’re gonna do something as stupid as performance art, then you really have to be the best or else you’ve got nothing. And I didn’t want to be a nothing. I can’t be a nothing.

Maya listens intently, contemplative and somewhat stunned. Almost a year of friendship, or whatever the two of them are, and he’s never been this vulnerable.

> **Farkle:**  And if you’re going to be the best, that means fuck the rest. Right? If you’re at the top, then it means no one else can be. That’s what I always thought. That’s what made sense. But I’ve got this… it’s like I’ve got this whole other side to me that has a new motivation. And I don’t think I can survive with two. It’s like I’m splitting down the middle. But I know they’re both true. They’re both all-consuming.  _[ a beat ]_  I want to be the best. I want to get the auditions and the summer programs and get everything I deserve. I want it so badly, it’s blinding.

Maya waits, a bit more guarded. This much, she already knew.

> **Farkle:**  But I want to share it, too. I want to do it with people who are just as talented and star-bound as me. I want a team. I don’t want to be alone.

Farkle finally looks away from the street, forcing himself to meet her gaze. He hesitates, then speaks definitively. Like if he doesn’t say it, it’ll suffocate him.

> **Farkle:**  I want my friend.

Maya takes this all in, before softening a bit. After a moment she sighs, running a hand through her hair and trying to gauge the situation.

> **Maya:**  You really mean all that?
> 
> **Farkle:**  Yes.
> 
> **Maya:** You done with all of the bullshit? All of the stupid –
> 
> **Farkle, without hesitation:** Yes. Yes.

It’s so difficult to figure out what’s real with him. Whether or not he’s telling the truth. But somehow, Maya  _wants_  it to be true.

> **Maya:**  You really mean just as talented?
> 
> **Farkle:**   _[ with an eager nod ]_  Maybe more.

The statement is sincere. And this, it seems, is the ticket to earning back her approval. She gives him a hesitant smile, nodding as well and letting her gaze drift back to the street. They continue to sit in the cool May twilight, the winds of change kicking up a breeze around them.

This friendship may just stay afloat yet…

* * *

**INT. AAA - HALLWAY - DAY**

The last couple days of sophomore year seem to promise an unusually little amount of chaos compared to the usual tenor of AAA. Farkle is at his locker on his phone, and we can see that he has messaged the  _AAAC_  multiple times over the weekend requesting that his submission be deleted and forgotten about.

The page hasn’t responded, so it seems like a moot point. For what it’s worth, the  _AAAC_  seems to have finally given up.

Farkle accepts this, closing his locker. Glancing down the hallway, wondering what an entirely new year is going to bring.

**INT. AAA - HALLWAY - DAY**

On the bulletin board outside the black box, Zay has been announced as the summer program recipient. The assembled classmates congratulate him, including a genuinely complimentary Maya and a very enthusiastic Riley. Charlie gives him a pat on the back, and they exchange a soft look – suddenly a lot more meaningful between them than before.

During this celebration, however, they all get notifications on their phones from Instagram.

**INT. AAA - HALLWAY - DAY**

Farkle gets it as well, still in a different part of the school. It informs him that  _AAA Confessions_  posted a new video, followed by one more message specifically meant for him.

“Too late. Self-destruct sequence initiated. Happy summer, Farkle Minkus.”

Consumed with dread, Farkle stops frozen in the hall and opens his phone. As he jumps to the app, his hands are shaking so badly he nearly drops the device. When he goes to check the page, all of the color drains from his face.

It’s worse than he expected. Not only is the content of his video posted, it’s him saying it.  _AAAC_  simply posted the video in its entirety, only having adding a caption explaining that the post is their swan song confession – and they’ve exposed everyone who ever posted on the account.

As Farkle’s voice on video begins to rattle throughout the school halls, he takes off at a mad dash down the hallway –

* * *

**Song Cue ♫ ♪ “The World Was Wide Enough” as performed by Hamilton Original Broadway Cast || Instrumental (up to 4:00) - Performed by Farkle Minkus (4:00 onward)**

**INT. AAA - HALLWAYS - DAY**

It’s chaos as everyone tunes into the video and sees the  _AAAC’s_  final post. Their final message is true to their word – scrolling down on the page, they’ve added a “signature” to every single original caption revealing who submitted it in the first place. All that power of anonymity, gone in an instant.

Friends are confronting friends about items posted. People are tuning in to Farkle’s video, in total awe and horror of the mere existence of it. Each piece of it is repeated in snippets as it passes through the halls, accenting the instrumentation of “The World Was Wide Enough.”

As Zay reads the caption on the post, he turns to look for Charlie. But Charlie is gone, having disappeared the moment it became clear exactly what was going on.

Charlie himself is hiding in a nook of a hallway closer to the atrium, looking like he’s going to be sick. As he frantically scrolls through the page, we discover what it is that has him so flustered – all of the posts about him and Riley **were submitted _by him_**. All that effort put into using it to keep suspicion off of him, and now he suddenly looks more curious than ever.

Panicked, Charlie jogs towards the front entrance and pushes through the doors. Taking off at a run without looking back.

**INT. AAA - AUDITORIUM - DAY**

The techies are huddled in their usual back section sans Isadora and Lucas, watching Farkle’s video with a distinct mix of horror and fascination. JADE BEAMON is hiding behind her hands, she can’t bear to watch it for too long. DAVE WILLIAMS can’t look away, jaw hanging open.

Lucas enters from the audience doors, noticing the tension in the congregation and asking them what’s going on. DYLAN ORLANDO and ASHER GARCIA immediately attempt to stifle the sound and hide the phone, assuring him that it’s nothing. But naturally, this adamant denial doesn’t sell convincingly on either of them.

He can tell something is seriously up. He repeats the question, approaching the group and coming to stand in front of them again. Dave tries to claim ignorance as well but Lucas is faster than them, reaching over and snatching Dylan’s phone from his hands before he can protest.

Lucas tunes into the video just as Farkle is wrapping up his section on him, transitioning to Isadora. Asher tries to tell him he’s stupid and he should forget about it, but Lucas isn’t listening to him anymore.

> **Farkle:**  …  _I mean, why else would she put in the effort to befriend jackass Lucas James Friar, other than by special request from her favorite counselor uncle in an attempt to make sure he doesn’t make a hit list or some shit considering he’s so openly pathetic. Riley Matthews doesn’t need sympathy, but she’s sure good at giving it…_

Asher and Dylan are watching him like a hawk, not sure what to say. All of them are watching him with evident worry, and that just makes everything worse.

> **Farkle:** … _I guess it makes sense that she deserves one shot to prove she actually can live up to the family business without having to do any work for it. Sucks that it’s so late notice her best friend won’t even be there, as he’ll be too busy on his pity date with Riley. How tragic._

Stone-faced, Lucas drops the phone to the ground and marches from the auditorium. Dylan calls after him as Asher scrambles to pick up the phone off the ground. Dave starts to go after him in concern but Jade pulls him back.

**INT. AAA - HALLWAYS - DAY**

Farkle continues his desperate sprint through the halls, frantically trying to get to the black box to do damage control before everything unravels. He arrives and barrels through the doorway just as the gun shot in the instrumental goes off, kicking off the empty, tense backing of Hamilton’s free verse.

**INT. AAA - BLACK BOX THEATER - DAY**

The moment Farkle appears in the doorway, a dozen heads snap to look at him at once. Most of the sophomore class is assembled, nearly all of the performers except Charlie and including Isadora. They’re all staring at him, a myriad of unpleasant emotions on their faces.

Considering the fact that all of them are also on blast because of what the page did to the captions, Farkle is truly stepping into the full brunt of everyone’s betrayal and anger.

Maya breaks first, questioning how the hell he could do something like this. He really did blow up everything – including reveal her scholarship status to the whole school. Her eyes are glossy as she scrutinizes him, but the rage is enough of a deterrent to hold back any tears.

Farkle isn’t so lucky. He’s already choking up as he tries to defend himself, stammering through his words. He tries to point out that it wasn’t him who posted it, and he frantically tries to explain that he basically begged to have it deleted. He never wanted it to be shared. He didn’t mean it.

> Maya: But you sent it. You  _said_  it!

The vitriol escalates pretty quickly from there, Zay pointing out how pathetic the whole thing is. Riley questions why he would put other people’s interpersonal relationships on blast, to which Isadora follows up that it’s obviously because he can’t imagine what having actual friendships must be like. Guess if he can’t have them, then no one can.

Farkle takes hit after hit, being the straw man in a scenario that has no good ending. But the whole thing gets far worse when Lucas storms into the room, asking if it’s true.

It’s like all of the air gets sucked out of the room. The performers turn to Lucas warily, wondering the hell he’s going to do. He repeats the question, voice quiet and sharp – which is honestly scarier than if he were shouting. Farkle swallows, certain he’s not going to live to see tomorrow.

But Lucas doesn’t focus on him. He zeroes in on Riley instead, locking eyes with her and looking at her for a long moment before asking about what he actually cares about. When he speaks, it’s barely above a murmur.

> **Lucas, mockingly:**  … pity date?
> 
> **Riley:**   _[ stunned ]_  No.  _No_ , Lucas, I didn’t – I never –

But it’s too late. It’s like Wyatt said – words are toothpaste, and they’re not going back in the tube. The sentiments have left their mark, for everyone involved.

Lucas huffs out a laugh, but it’s not a humorous one. Then he launches into a tirade about how he should’ve known better, they should’ve seen this coming. That, of course, the performers would default to this kind of petty and sadistic behavior, because that’s all they ever do. It’s been that way forever, and nothing is going to change it clearly. It’s a pretty staggering deconstruction, and he bookends it by stating he hopes they’re all really pleased with themselves. Really damn pleased.

Lucas focuses back on Farkle, voice dropping back down to a wavering murmur.

> **Lucas:** _[ letting out a scoff of a laugh ]_  …  _fuck_  you.
> 
> _[ Farkle can’t look at him. He keeps his gaze trained on the wall, a couple of tears slipping down his cheeks. Lucas shakes his head, backing up. ]_
> 
> **Lucas:**  Fuck… _[ raising his voice ]_ FUCK  _all_  of you!

Lucas storms out, pushing WYATT LIVINGSTON out of his way as he shoves past him to escape. Isadora shoots a murderous glare at all of them before chasing after him. CLARISSA CRUZ hides her head behind HALEY FISHER’S back, both of them crying. A tear escapes Riley, but she’s so shell-shocked she doesn’t even think to wipe it away.

The sophomore class starts to file out, trying to escape the unbearable tension they all had a hand in creating. They file out one by one in varying states of shock until it’s down to Farkle and Zay, the latter stopping in front of him as he makes his way out.

> **Zay:**  Was it worth it? Is it finally enough?

He scoffs, shaking his head in disgust as he leaves Farkle alone. Farkle stands there in the center of the classroom alone, completely frozen.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Isadora catches up to Lucas in the technician’s booth, intending to confront him about the commentaries leveled against him – particularly that he totally just blew her off to go on some date with Riley without bothering to clue her in. Because that’s not so hot either, and she was counting on him to be there. She needed him to be there, and he wasn’t. She expresses how idiotic she felt and demands to know what the hell he was thinking.

Lucas claims he doesn’t want to talk about it right now, obviously on the verge of a major emotional hurricane. Anyone else would be cautious to be near him with such a chaotic potential in the air – and understandably so – but Isadora knows him better than that. She’s not scared of him, and at the moment she’s  _pissed_. So she won’t let it drop, pushing and pushing until he finally cracks.

He yells at her, begging her to shut up. He can’t deal with it right now, so would she just let it  _drop_? She winces, shocked enough by the outburst to stop the badgering. Lucas blinks at her, turning away and collapsing back against the electrical cabinet. He slides down to the floor, all of the anger gone in an instant and just left with… everything else.

He covers his face with his hands, letting out a shaky “ _fuck_ ” and pulling up his knees in front of him. Isadora hesitates by the lighting board, realizing now isn’t the time for the confrontation. They’ll have that conversation later, she knows that they will. For now, she thinks he needs her to be present in a different way – even if he wasn’t there for her the way she expected he’d be.

Tentatively, she approaches him and sits down against the cabinet next to him. She cautiously puts an arm around his shoulders to comfort him – a big move, coming from Isadora – and that moment of vulnerability is what shatters the flood gates.

Lucas leans into her embrace, breaking down in tears as the sting of everything falling apart finally starts to sink in. When he said that when he cared about something, we would know… well. That’s more evident than ever before.

Isadora holds him and allows him to melt down, lightly propping her chin on his head. Her expression is grim, holding it together so that at least one of them remains stalwart.

**INT. AAA - AUDITORIUM - DAY**

Farkle takes over the vocalization of “The World Was Wide Enough,” tuning in on  _“Now I’m the villain in your history…”_  He’s walking along the edge of the stage on his own, balance precarious. Like he could fall at any second, but at that point he doesn’t care anymore.

His eyes are glossy but the tears are done. He’s blank-faced, trying to comprehend the fact that his world just turned upside down, and the truth of it is? It was all his fault.

_I was too young and blind to see,_  
I should’ve known.  
I should’ve known the world was wide enough for all of them and me.

Close on Farkle’s teary eyes, before a slow fade to black. Then, the sounds of a bustling airport float in as we transition to a new location…

* * *

**INT. AIRPORT - DAY**

Close on a smartphone, open to the  _AAAC_  but from the moderator side rather than follower as we’re accustomed to seeing it. A thumb navigates to settings, going to the delete button. When Instagram prompts if the user is sure about deleting the account, they hesitate.

Easing out, it is finally revealed who the true operator of the  _AAAC_  was –  **Chai Fresco**. In spite of her successfully evading getting caught, she doesn’t look thrilled with all of the chaos that unfolded in its wake.

As her boarding section is called for her flight to Europe, she acts quickly and confirms the delete. Poof! It’s as if the page was never there… even if all the damage it caused still remains.

Chai grabs her things, heading towards the flight that will take her away from all of the aftermath. Not looking back.

**INT. AAA - HALLWAY - DAY**

Empty hallways. Quiet building. Summer has begun, and the impending confrontations are put on hold for a few weeks. The hallways feel eerie, not populated with students and dancing and music as they should be…

> **Eric:**  What the hell happens next?

**INT. AAA - ERIC’S OFFICE - DAY**

Eric is seated behind his desk, Jack in the usual student occupied chair across from him. They’re both stunned speechless, still attempting to wrap their minds around what the hell unfolded in the last three days of classes. Eric confirms that the confessions page has been terminated for good, so at least there’s that.

> **Jack:** Mister Livingston was right.

Eric frowns, prompting Jack to continue. It’s clear that this has taken a toll on Jack. He doesn’t look all that well, and his voice is ragged as he tries to compose his thoughts. He laments that Wyatt was correct about him – he is incompetent, and he couldn’t stop this from imploding in on itself. More than that, he’s the failure. He failed their students, from beginning to end.

Eric tries to refute this notion, but Jack isn’t willing to hear it. And in some ways, they did fail, there’s no sugarcoating that. They tried to protect their students, and it didn’t work. Everyone got hurt, somehow.

Most pointedly, Jack continues, Wyatt was right when he said there is a serious culture problem at AAA. Too much competition, too cutthroat. They have to change it, and it’s going to take both of them working together to fix it from the ground up.

Jack looks to Eric, a far cry from the resolute and polished principal we met at the beginning of the season. He lets out an exhale, locking eyes with his most stubborn yet most impassioned faculty member.

> **Jack:**  Will you help me?

Eric holds his gaze, obviously contemplating. Then he holds out his hand, waiting for Jack to shake on it. If they’re going to rebuild, then it’s going to take both of them indeed.

Jack hesitates, then links his hand with his.

_**END OF SEASON.** _

**Works inspired by this one:**

  * [that could be enough](https://archiveofourown.org/works/19463821) by [friarlucas](https://archiveofourown.org/users/friarlucas/pseuds/friarlucas)
  * [write this love in stone](https://archiveofourown.org/works/19927405) by [friarlucas](https://archiveofourown.org/users/friarlucas/pseuds/friarlucas)
  * [AMBITION ( Season 2 )](https://archiveofourown.org/works/21072386) by [friarlucas](https://archiveofourown.org/users/friarlucas/pseuds/friarlucas)
  * [One Espresso Shot (of Love)](https://archiveofourown.org/works/21962350) by [BronteBronte](https://archiveofourown.org/users/BronteBronte/pseuds/BronteBronte)




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